Editor’s letter

Welcome to… EDITOR’S CHOICE Three of my top

picks this month…

48

In this month’s magazine we

turn our focus on a number of
exceptionally talented artists, as
well as some of their tools, tips
and techniques. First off, we
Mighty mechs and spaceship designs
have our beautifully whimsical Animal-inspired machinery and flying cars abound in
cover art, which was created by the sketchbook of concept artist Robert Laszlo Kiss.
the talented Selenada. If this
kind of art speaks to you, make 68
sure to check out her tutorial on its creation, and
dive into Clip Studio Paint to follow along. There’s
even a great timelapse video of her process too!
Elsewhere, we talk to Grégory Fromenteau about
his years in the business, getting into the world of
video game art and the value of traditional media.
Not only that, but we caught up with four artists to
discuss their advice for filling art with narrative.
In our tutorial section, we have the latest in Draw futuristic vehicle designs
Charlie Pickard’s course on art fundamentals, this John A. Frye shares his workflow for painting stunning
time looking at values; a basic yet hugely important science fiction vehicles from scratch using Photoshop.
skill to learn. And we bring yet more training too,
covering how to paint hard-surface sci-fi vehicles 76
and using 3D to aid your artistic workflow.
Lastly we and the wider community reflect on the
loss of the legendary manga artist Akira Toriyama.
I hope you enjoy the issue.

Editor Develop 3D skills for concept art

Rob.Redman@futurenet.com Learn how to infuse tools such as Blender into your
process with this fantastic tutorial by Gaëlle Seguillon.

@imaginefxmagazine Subscribe
@imaginefx today!
Save up to 28% on a new
facebook.com/imaginefx subscription, and receive
imaginefx.creativebloq.com the magazine direct to
your door each month.
ifxm.ag/newsletterCB See page 8 for details

Sign up for our newsletter!

3
 Save up to 28% by starting a
new subscription to ImagineFX
See page 8 for details

SUBSCRIBE & SAVE!

Your art 10 24
10 FXPosé
A round-up of digital art submitted by
you, featuring Artist of the Month Pablo
Pereira, plus incredible work from Yare
Yue, Aleksandra Alekseeva, Polina Bivol,
L.J. Koh and Emanuel Freitas Dias.

22 The Rookies
Marin Le Tourneau takes on a challenge
in their Ghibli-inspired illustration.

News and events

24 How to tell a story in an image
We speak to four artists about telling
FXPosé How to tell a story in an image
human narratives through symbolism.

30 A tribute to Akira Toriyama 40

Artists remember the legendary Dragon
Ball creator and his impact on their work.

32 Get set for Vertex 2024!

Discover all the fun that awaits you at our
upcoming festival of digital art in London.

34 Artist in Residence:
Charles Ratteray
Venture into the mixed-media lab of the
concept designer and storyboard artist.

Features
40 Interview: The art of
Grégory Fromenteau
The art of Grégory Fromenteau
The artist talks about his switch from
animation to video games, and why he
still adores using traditional mediums. 34 48
48 Sketchbook:
Robert Laszlo Kiss
We take a peek at pages packed full with
unique mechanical designs and more.

Regulars
6 Next month
8 Subscriptions
Artist in Residence: Sketchbook:
38 Recent editions
Charles Ratteray Robert Laszlo Kiss
39 Letters

4
 Issue 239

64 68
Workshops
56 Illustrate a magical character
Cover artist Selenada talks us through
how she created her stunningly detailed
artwork with Clip Studio Paint.

62 Recreate gouache effects

Why Choro Choi’s dip into traditional art
has presented her with new digital ideas.

64 Simplify the value scale

Simplify the value scale Learn to draw sci-fi vehicles
Create powerful paintings with the help
of Charlie Pickard’s starter guide for
56 ensuring you get values just right.

68 Learn to draw futuristic

vehicle designs
One brush is all John A. Frye requires as
he builds a sci-fi vehicle in Photoshop.

74 Draw fast and jot down ideas

Ashot Avetisyan makes sure that he never
forgets an idea for his future projects.

76 Develop 3D skills for

concept art designs
Top concept artist Gaëlle Seguillon takes
inspiration from The Lord of the Rings.

82 Start off with simple shapes

Brandon Le explains how he created a
page://92
complex scene from basic building blocks.

Traditional Artist
86 Traditional FXPosé
The finest traditional art, sent in by you!
Illustrate a magical character
92 Create an epic comic battle
Uko Smith pits X-Men’s Storm and Magik
76 92 against each other in a dynamic scene.

96 First Impressions:
Scott Brundage
The illustrator explores his development
as an artist and shares some of his work.

Develop 3D concept art skills

GET YOUR
82 RESOURCES

1 Go to the website
Type this into your browser’s address bar.
https://ifxm.ag/clip-studio

Start with simple shapes Create an epic comic battle

2 Click the download link
Find your files ready for download.

3 Download what you need…

Save the files or watch the videos.

5
 Next month

Editorial
Editor Rob Redman rob.redman@futurenet.com

LEARN TO PAINT
Art Editor Daniel Vincent
Production Editor Henry Burridge
Contributors
Dominic Carter, Tanya Combrinck, Charles Ratteray, Robert

ICONIC FAN ART

Laszlo Kiss, Ulyana Regener, Choro Choi, Charlie Pickard, John
A. Frye, Ashot Avetisyan, Gaëlle Seguillon, Brandon Le, Uko
Smith, Scott Brundage, Gary Stuckey
Advertising
Media packs are available on request
Chief Revenue Officer Zack Sullivan

Pro illustrator Raide puts her spin on UK Group Commercial Director Clare Dove
Advertising Director Matt Johnston
matthew.johnston@futurenet.com, 01225 442244

adored anime Howl’s Moving Castle International Licensing

ImagineFX is available for licensing and syndication. To find
out more contact us at licensing@futurenet.com or view our
available content at www.futurecontenthub.com.
Head of Print Licensing Rachel Shaw
Subscriptions – turn to page 8!
Online orders www.magazinesdirect.com
Customer service email: help@magazinesdirect.com
Telephone +44 (0) 330 333 1113
Consumer Revenues Director Sharon Todd
Disruption remains within UK and International delivery networks.
Please allow up to 7 days before contacting us about a late delivery
to help@magazinesdirect.com

Back issues: If an active subscriber, you have digital entitlement to access

back issues through your iOS or android device/s. Your digital magazine
entitlement is available at no additional cost and no further action is required.
PocketMags library may not have access to the full archive of digital back
issues. You will only be able to access the digital back issues as long as you
are an active subscriber. To purchase single back issues (print format only)
visit: magazinesdirect.com and click on ‘Single issues’ tab.

Production
Group Head of Production Mark Constance
Senior Production Manager Matt Eglinton
Senior Ad Production Manager Jo Crosby
Production Manager Vivienne Calvert
Digital Editions Manager Jason Hudson
Management
Group Art Director Dean Usher
Content Director Chris George
Global Head of Design Rodney Dive
Managing Director Stuart Williams
Commercial Finance Director Tania Bruning
Printed by Buxton Press Limited, Palace Rd, Buxton, SK17 6AE

Distributed by Marketforce, 5 Churchill Place, Canary Wharf, London, E14 5HU

www.marketforce.co.uk. Enquiries email: mfcommunications@futurenet.com

ISSN 1748-930X

All contents © 2024 Future Publishing Limited or published under licence. All
rights reserved. No part of this magazine may be used, stored, transmitted or
reproduced in any way without the prior written permission of the publisher.
Future Publishing Limited (company number 2008885) is registered in
England and Wales. Registered office: Quay House, The Ambury, Bath BA1
1UA. All information contained in this publication is for information only and
is, as far as we are aware, correct at the time of going to press. Future cannot
accept any responsibility for errors or inaccuracies in such information. You
are advised to contact manufacturers and retailers directly with regard
to the price of products/services referred to in this publication. Apps and
websites mentioned in this publication are not under our control. We are
not responsible for their contents or any other changes or updates to them.
This magazine is fully independent and not affiliated in any way with the
companies mentioned herein.

If you submit material to us, you warrant that you own the material and/
or have the necessary rights/permissions to supply the material and you
automatically grant Future and its licensees a licence to publish your
submission in whole or in part in any/all issues and/or editions of publications,
in any format published worldwide and on associated websites, social media
channels and associated products. Any material you submit is sent at your
own risk and, although every care is taken, neither Future nor its employees,
agents, subcontractors or licensees shall be liable for loss or damage. We
assume all unsolicited material is for publication unless otherwise stated, and
reserve the right to edit, amend or adapt all submissions.

We are committed to only using magazine paper derived from responsibly

managed, certified forestry and chlorine-free manufacture. The paper in this
magazine was sourced and produced from sustainable managed forests,

Draw surreal Finding passion Advice from a conforming to strict environmental and socioeconomic standards.

Full subscription rate: £97.50 for UK, ¤179 for Europe and $203 for US.

character art for characters vibrant artist

Discover how to Iryna Khymych Juan Diego León
keep your work tells us all about goes step-by-step
loose with expert what inspired her into how he paints
insight from Moon to begin creating stunning fan art

ISSUE 240 ON SALE 7TH MAY

IN PRINT & DIGITAL

6
 USE IMAGINEFX FOR 20%
OFF STANDARD TICKETS!

19 April, 2024 | Business Design Centre, London

The ultimate event

for the digital art
community is back!
After huge demand, Vertex conference
is back as an in-person event! Join us
on Friday 19 April, 2024 at the Business
Design Centre, London.

We’ll bring together more of the CG

community than ever before for practical
information, amazing inspiration and a
fantastic networking opportunity.

ind out more at vertexconf.com

F
BROUGHT TO YOU BY #VertexConf
Subscribe and save!

Cover art
for issue 126
by Charlie
Bowater

8
 ImagineFX subscriptions

SUBSCRIBE
SAVE AND SAVE
UP TO
28 % TODAY! *
Pick one of the packages below
and don’t miss our fantastic offer!

NEW!
Digital access
to
hen
140+ issues w
you subscribe
to print!**

£69.99 £59.49
PRINT AND DIGITAL DIGITAL ONLY
SUBSCRIPTION SUBSCRIPTION
13 issues a year of the 13 issues a year of the
print edition digital edition
No-hassle home delivery Instant access via your
Pay less than you would Android or iOS device
in the shops Same content as the
Exclusive text-free covers print edition
just for subscribers Never miss an issue

SUBSCRIBE AND SAVE AT:

WWW.MAGAZINESDIRECT.COM/IFX/C89H
OR TELEPHONE +44 (0) 330 333 1113 AND QUOTE C89H

Terms and Conditions: Offer closes 4th June 2024. Offer open to new UK subscribers only. *‘Save up to 28%’ is based on the single issue price.
**Access to the digital library will end with your subscription. We will notify you in advance of any price changes. Please allow up to six weeks
for delivery of your first subscription issue (up to eight weeks overseas). For full terms and conditions, visit www.magazinesdirect.com/terms.
For enquiries please call: +44 (0) 330 333 1113. Lines are open Monday-Friday 8:30am-7pm, and Saturday 10am-3pm UK time (excluding Bank
Holidays) or email: help@magazinesdirect.com. Calls to 0330 numbers will be charged at no more than a national landline call, and may be
included in your phone provider’s call bundle.

9
 1

THE PLACE TO SHARE YOUR DIGITAL ART

Pablo Pereira
LOCATION: Spain MEDIA: PaintTool SAI 2 WEB: www.instagram.com/breri_

Pablo is an illustrator and graphic design student.

They are well known for mixing ancient and trendy
themes. “I’m especially in love with Japanese masks.
You’ll hardly see an uncovered face in my artwork!”

2
1 SAMURAI KID
“An excellent example of
what I mean by mixing the
past and the present in my
illustrations. A rare example
of an uncovered face, too.”

2 MOBILE CASE
“Lots of people asked
me for this mobile phone
case. I started to believe it
could be a good idea, so I
made it real.”

3 BY THE SWORD
“This was part of a pair
of redraws I did recently. I
aimed to ensure that I was
improving at drawing. Truly
one of my favourites.”

4 KITSUNE X
“I made this as part of a
collaboration with XPPen.
They wanted me to integrate
an X somewhere in the piece,
so I sculpted it onto the
character’s mask.”

5 DRIFTING AWAY
“I wanted to get a sense
of movement in this one,
which is why I put so many
stripes floating all over the
place. I also needed some
parkour references.”

10
 5

Want to submit your work? Visit http://ifxm.ag/getinifx 11

 2
Yare Yue
LOCATION: China MEDIA: Photoshop, Blender WEB: zero0.artstation.com

Yare has been working in the CG industry since 2013 in both

game art and development. They now work as a freelance
artist, expanding their repertoire and exploring new styles.

1
1 SMILING FACE
“I wanted to make this
character both cute and
creepy. What would be more
suitable than a clown doll?”

2 TRIP: WIND OF SOUND

“This is from my personal
series, TRIP. A child and his
cat escape reality into a
fantasy realm. I wanted to
physically transform sound
into a relic for exploration.”

3 CONVALLARIA LAKE
“Another piece from my
TRIP series. I didn’t want the
series to be too fantastical
and grand, so it was more of
a stop-start in terms of the
subject matter and design.”

4 BABY GREED
“A Halloween-themed
character design. The greedy
baby doll uses its gigantic
mouth to fill his empty shell
by swallowing all kinds of
different sweets.”

12 Want to submit your work? Visit http://ifxm.ag/getinifx

 4

Want to submit your work? Visit http://ifxm.ag/getinifx 13

 Aleksandra Alekseeva
LOCATION: Serbia MEDIA: Photoshop, Procreate WEB: www.artstation.com/aleksandraalekseeva

Aleksandra is an illustrator and concept artist working in the game

development industry. She prefers to create fantasy settings, and
most of all loves to draw girls. “It’s my pleasure and comfort zone.”

2 3

1 LOVE
“Love can be beautiful and
attractive, but also treacherous
and dangerous.”
2 DEMETRIA
“A commercial illustration of
a game character. I adore cold
colour palettes, especially neons
and pearlescent colours.”
3 WHITE-HAIRED GIRL
“This art piece comes from
my experiments with colour and
form. I don’t know why, but white
hair is my favourite for drawing.”
4 MODERN GEISHA
“Here I was searching for an
interesting look. I settled on one
inspired by Japanese culture,
painted in neon colours.”

14 Want to submit your work? Visit http://ifxm.ag/getinifx

 4

Want to submit your work? Visit http://ifxm.ag/getinifx 15

 L.J. Koh
LOCATION: Singapore MEDIA: Procreate, Photoshop WEB: www.artstation.com/kheljay

L.J. Koh is a commercial artist specialising in Warhammer 40,000 fan art.

“I’ve worked for the likes of Wizards of the Coast and Games Workshop,
and like to replicate neoclassical art in modern sci-fi and fantasy settings.”

1
1 THE EMPEROR’S MERCY
“This 40K fan art scene
depicts the Emperor of
Mankind displaying his full
divinity amid the darkened
halls and blinding his guards,
who became traitors. I took
inspiration from neoclassical
paintings of Julius Caesar’s
assassination.”

2 GUILLIMAN AND
HELBRECHT
“With this piece, I wanted to
recreate the look and
composition of a Lionel
Royer painting. I focused the
lighting and colour to draw
attention to individuals in a
sea of bodies.”

16 Want to submit your work? Visit http://ifxm.ag/getinifx

 3

3 SANGUINIUS
VERSUS HORUS
“This is a 40K fan-favourite
scene of a final, tragic duel
between loving brothers. I
took inspiration from The
Fallen Angel by Alexandre
Cabanel in the expressions
of anger and betrayal.”

4 THE ANGEL’S INFERNO

“A scene of the 40K
Blood Angels commander
Dante on a personalised
throne looking back at his
10,000 years of endless war.
I pushed the angelic heraldry
really hard to capture the
grand melancholy of the
grimdark universe.”

Want to submit your work? Visit http://ifxm.ag/getinifx 17

 Polina Bivol
LOCATION: Georgia MEDIA: Procreate, Photoshop WEB: www.artstation.com/bivol

Polina is a freelance fantasy illustrator represented by TomatoFarm Agency.

She uses whimsical shape language and gouache-like brushes to add more
expression to her art. Her latest hobby is frame-by-frame animation.

1 POISONOUS ROUTINE
“Potion-making can be very fun if you have
all the right ingredients in the right places, a
carnivorous cauldron, and one delicious toad.
A helpful magic pet toad, of course.”
2
2 CATCHING TIME
“If fish were clouds in the sky, would
they still be so easy to catch? I wanted this
illustration to portray childlike hope and a
belief in impossible miracles.”

3 MIDNIGHT FLARE PICKING

“This illustration is all about the
friendliest witch gathering the cutest little
flares on the most charming night in a
world full of magic, not fear.”

4 THE EMPRESS
“This piece illustrates the tender love
for the most precious treasure in a trove:
the royal dragon. It’s the only being that
the Empress admires.”

18 Want to submit your work? Visit http://ifxm.ag/getinifx

 4

Want to submit your work? Visit http://ifxm.ag/getinifx 19

 Emanuel Freitas Dias
LOCATION: Brazil MEDIA: Photoshop, Blender WEB: www.artstation.com/emanueldias

Emanuel likes to bring personal themes to his work, including spirituality,

strong emotions and metaphors. He takes a lot of inspiration from the
cinema and daily life to make the viewer reflect on themselves a little.

1 KNIGHT
“Imagine a knight walking
through a fantasy forest. I used
strong colours and a powerful
composition, as simplicity is
always better.”
2 GRAVEYARD
“Spirits walk through the
cemetery while the crows keep
a watch out for any evil spirits
that could interfere with the rest
of the dead.”
3 HEALING TEMPLE
“An image about spiritual
and physical healing. I brought
together contrasting colours and
architecture that refer to the idea
of angels and healing.”
4 PILOT
“It’s difficult for me to use
monochromatic colours. But
here I paired them with a strong,
graphic design so the scene can
be understood from afar.”

20 Want to submit your work? Visit http://ifxm.ag/getinifx

 3

Do you want to see your art on these pages? Then email five pieces of your work and a short explanation
about each artwork, along with a photo and a few details about yourself, to fxpose@imaginefx.com

Want to submit your work? Visit http://ifxm.ag/getinifx 21

 The Rookies is a platform
to help digital artists
get discovered without
having to compete
with professionals for
attention. You’ll get to
the front page of those
sites one day, but for now,
we’ve got your back and
want to help turn your
passion for creative media
into a successful career.

WWW.THEROOKIES.CO

Howl’s Flying Castle

YEAR CREATED: 2023 MEDIA: Photoshop

“This illustration is based on the movie Howl’s Moving Castle by

Hayao Miyazaki. The goal was to create an illustration and interpret
the colours and shapes into the Ghibli style. The composition, as
well as finding the best way to treat my brushstrokes, proved to be
a challenge, but so rewarding. I’m happy I pushed through it!”

22
 The Rookies

Artist
PROFILE
Marin Le Tourneau
LOCATION: France
Marin, who is also known as
Iracema, is a second year concept
art student at Bellecour École in
Lyon, France, and has had a
passion for art since childhood.
www.therookies.co/u/Iracema

23
ARTIST NEWS, SOFTWARE
AT THE CORE OF THE DIGITAL ART COMMUNITY
Eleonor Piteira made
Secret Keeper as part
of the 2021 Month of
Love, a challenge with
the prompt ‘silence’.
How to tell
a story in
an image
Narrative masters Tanya Combrinck
talks to four artists about using visual
elements to imbue their work with
personal and universal human stories
While generative AI can produce
images with superficial visual appeal,
especially to those who haven’t seen
much AI art, they tend to fall apart
under closer inspection. Elements
are assembled almost randomly, and
the overall image lacks the meaning,
coherence and intention that can
only come from a human artist.
A way artists can fight back against
generative AI is to lean into the things
24
EVENTS
that only a human can do, for example
using narrative to capture emotion,
and convey something personal about
themselves in their work.
PAINTING WITH WORDS
Some narratives will work better than
others in paintings. Consider situations
that feature opposing
forces or some form of
tension. Senior concept
artist Titus Lunter says:
“Interesting stories are
inherently about conflict.”
Once you’ve found your conflict,
you need to define it in words. Your
choice of words is important, because
these will be the keywords that you
“Most of my inspiration comes
from older stories and the
sense of wonder and mystery
they hold, but also the relation
they have to human nature,”
says Amanda Ramsey.
use to build your image. Titus explains
keywords “are broadly understood by
most people, but mean very different
and personal things to everyone”. For
example: “While cosy might be under
blankets, it also might be by a fire, or
on a patio with a nice drink.” These are
all literal scenarios that you could
paint to evoke a feeling of cosiness.
“Understanding that these words
mean different things to different
people will help you understand your
own voice,” Titus adds.
Your unique voice and perspective
is what makes your work different to
everyone else’s. He says: “In a way,
you and your painting are having a
dialogue on how to best capture
TRIBUTES TO GET SET FOR LIBRARY OF
A MASTER VERTEX 2024 INSPIRATION
Remembering Akira Discover why you won’t We peek inside the
Toriyama, an influential want to miss out on book-filled studio of
figure of manga and attending our digital art Charles Ratteray, who
creator of Dragon Ball, conference, and meet a tells us all about the
whose incredible work selection of the expert collection of artwork he
has proved inspirational artists who will be creates that traverses
to countless artists. sharing their talents. many mediums.
Page 30 Page 32 Page 34

“Art is a personal thing. And

not every piece is meant to
be enjoyed by everyone,”
says Titus Lunter.

GET
15% OFF
https://bit.ly
/4917 t8r
Save money
on Titus
Lunter’s conc
ept art
course with co
de
IMAGINEFX

©Wizards of the Coast

“Adult life is all about
getting disentangled
from the influences
of other people, and
forming ourselves
in our own image,”
says Kim Myatt.

Titus says: “I wanted to show

the viewer a very alien structure
but in a casual, familiar way.”

25
 ImagineNation News

“I tried to achieve as much as I could with a few

brushstrokes, as if I only had a second,” says Titus.

what you want to say and what

that means.” This happens in two
ways: your choice of what to paint,
and how you use elements such as
the composition, colour and texture
used to paint it.
“One of the things that gets easily
forgotten nowadays is that painting,
and thus storytelling, is a deeply
personal journey, which comes to be
thanks to introspection, exploration,
and creating a bunch of terrible
paintings,” Titus explains. “The end
result is a reflection of the journey
you’ve gone on to try and define
these keywords in a way that fits you
best as a painter.”
Some of the best stories you can

The trick with

symbolism is to
pick which part
you lay on thick
work with are those that are familiar
to people, such as folklore and ancient
mythology, because a fresh take on
something people think they already
know about is usually compelling.
These types of stories are often told
through the language of symbolism. “I incorporated imagery and which you simply allow the viewer then “think about my own personal
from the original story
Similar to Titus’s use of keywords, – the pomegranate, key, to arrive at themselves.” experiences, and how they relate to
he adds that “symbolism walks a and narcissus – and the story I want to tell”.
tightrope between being deeply
have a bident and the
symbol of Hades both USE YOUR EXPERIENCES In one of her paintings, which is
hidden on the clothes,”
personal and universally understood. Amanda says of The
An artist whose narrative-heavy body based on the Ancient Greek Homeric
The biggest mistake people make is Change of the Seasons. of work is largely based Hymn to Demeter, Amanda added
to be too literal and put all their eggs around creating retellings roses and twisting tree branches to
into one basket by trying to tell the of traditional stories is the background. She explains: “They
entire story through just one of the Amanda “A.J.” Ramsey. give me a feeling of youthfulness,
fundamentals, like the drawing, or the Her way of going on the nostalgia, and a sense of mystery
colour, and so on. But the trick with journey that Titus describes is to first that’s entirely personal to me.”
using symbolism is to pick which part lay out the scene that will convey the She also added blackberry bushes
of the story you want to lay on thick, familiar story to an audience, and because they are something from her

26

©Wizards of the Coast
Of her painting A Quiet Place,
Kim says: “I wanted to show
the relief and feeling of safety
and comfort that comes with
escaping into a quiet place.”
Artist news, software & events
“Don’t be afraid to seek out
that depth, and go hard on
adding all sorts of meaning
to your work,” says Titus.
“I like a bit of theatricality
and a dramatic flair, and to
invoke a certain degree
of awe,” says Eleonor.
life, and because they have symbolic
meanings relevant to the story. This is
a key technique for Amanda; to use
elements that are deeply personal to
her but also have universal meanings
for others to perceive.
She offers a word of warning for
those who put a lot of themselves into
their art: “Be prepared for nobody to
understand your artwork,” she says.
“Don’t be upset; they’re just reflecting
their own experience and knowledge
of the story you’re trying to tell.”
INDUSTRY INSIGHT
WORKING TO
A BRIEF
Titus Lunter discusses effective
communication for commissions
If you’re given a brief to create
an image that tells a story, what
are some typical challenges
you might encounter, and how
do you deal with them?
The biggest challenge is using the
same language. Each topic is
quite personal and people have
their own opinion of what it
should look like, so getting on
the same page can be difficult.
Good communication and an
understanding of what’s at the
heart of the story is the most
important thing.
The majority of my time is
spent on figuring out what it is
exactly I want to say. We need to
use more nuanced words in
order to paint a more nuanced
picture. Being on the nose is fine
sometimes, but then what about
capturing that feeling when your
loved one just walked out of the
door to go on a long trip, and
you’re just not that hungry for
dinner anymore?
A challenge coming from that
last bit is that we can sometimes
be way too literal, trying to paint
exactly what’s going on with
lines and shapes, but sometimes
an emotion or story doesn’t want
to be told that way. Think about
something epic, like a massive
explosion, but painted tightly; it
risks becoming dull. Slap some
paint on there with gusto, and
all of a sudden the texture of the
paint is trying to capture some of
that energy that’s in the brief!
You have a lot of great tools at
your disposal; colour, texture,
value, and so on. They each carry
a part of the story and together
paint a full, rich picture. This is a
result of a personal journey only
an artist can take and can’t be
replicated by a machine with no
understanding of these things.
Titus Lunter is an illustrator
and concept artist specialising
in environmental storytelling
and worldbuilding.
https://tituslunter.com
27
 ImagineNation News

“Stories are being lost to time, like nature is being

consumed by concrete jungles,” says Amanda.

Folklore and traditional stories

are often culturally significant and
held up as almost sacred by some.
Amanda is sensitive to this. “I try so
hard to do it justice,” she says. “I
research a lot before committing to a
piece. I’ve denied creating paintings
because I didn’t know enough and
was worried I would disrespect it.”

SHOWING RESPECT
Another artist who draws inspiration
from mythology and
folklore, Kim Myatt
agrees that sometimes
there is a responsibility for
artists to be respectful
towards the original work.
“On the one hand I believe all artists
should be free to represent whatever
inspires them in whatever way they
want. But on the other hand, if it’s
released on the internet especially,
people will take the artist’s rendition
as gospel and consider it ‘canon’. This
can be bad when folklore taken from
a specific culture is attached.”
Kim has first-hand experience,
having seen this happen to elements
from her own culture. She reflects:
“Although it’s nice to have something
recognised, it’s annoying to see things
added that weren’t there originally,
especially when the original folklore
it’s drawing from has been crushed by
colonialism and needs preservation.”
Kim’s images tell deeply personal
stories about her own life, and she
uses her art as a source of comfort.
One of her paintings depicts a woman
Eleonor says: “Storytelling in
illustration is about showing
meaning with intention; this
can be as literal as you wish.”
laying beneath her duvet, mingled
with autumn leaves. It’s about going
through a difficult time, “wanting to
escape into a dream and wake up
when the stress is over,” she says.
In another, we see a boy being
manipulated by disembodied hands
that represent the influence of other
people’s opinions. Of the piece, she
explains: “I wanted to express the idea
of how words from your past can push
and pull you in directions you might
not want to go.”
Kim points out that your use of
symbology is going to land differently
with every viewer. “Something that
makes me cringe might be cool to
someone else,” she says, before also
explaining that she thinks similarly to
Amanda. “I find it helpful to develop
your own understanding of motifs and
symbols – what do these things mean

28

I find it helpful to develop your own
understanding of motifs and symbols;
what do these things mean for you?
for you – and mix that into the use of
more universal symbolism.”
SIMPLE SYMBOLISM
In her work as a freelance illustrator,
Eleonor Piteira creates
images for book covers
and trading card games
that convey a specific
narrative. Her advice is to
simplify your idea, as it’s easy for your
point to get lost if you use too many
symbolic elements. “Choose just one
element for the focal point, and build
your illustration to serve the purpose
of bringing attention to that,” she says.
Artist news, software & events
Kim’s painting Deep in a Dream is
about a stressful time in her life. “I
like the strange contrast between
being somewhere comfortable,
like your bed, in an unfamiliar
environment,” she says.
“You’ll want to make sure the most
important elements in the illustration
are readable. You want people to look
at your illustration and understand
what they’re seeing, so you can hook
them into looking at your work with
more attention.”
If there are secondary elements that
are key to your story, you can draw
up a hierarchical list and give them an
appropriate level of prominence within
your image.
“It’s all about being intentional with
your choices,” she says. “But not
everything needs to have a reason to
be there, sometimes it might just be
The cover of Veronica Roth’s
novella When Among Crows.
“Though seemingly simple,
each element has underlying
meaning,” says Eleonor.
“Symbolism should be because you like it. The cool factor
used to gently guide the
viewer, to suggest should not be ignored, so have fun
rather than scream it in with the process!”
their face,” says Titus.
If you’d like to learn about these
topics in more depth, Titus Lunter has
developed his own course about
adding story, history and functionality
to your architectural concepts, which
is available through Domestika. Visit
https://bit.ly/4917t8r and use the
code IMAGINEFX to get a 15 per cent
discount. Offer ends 5 July, 2024.
29
ImagineNation News

Tribute
A

Akira Toriyama
To

Remembering a legend Artists from across the world pay homage His manga was first created in 1984,
to the influential manga artist and genius creator of Dragon Ball and the journey of Son Goku is now
told through anime, movies and more,
remaining a global phenomenon that
The overwhelming outpouring of little robotic girl, her inventor, and their has touched the lives of so many.
grief that followed the devastating many misadventures, the series was an The indelible mark Akira has left on
news of Akira Toriyama’s passing award winner and swiftly adapted into the lives and careers of generations of
says everything about the impact he an anime that ran for more than 200 fans was demonstrated by the many
had on the art world. To some he was episodes on Japanese television. touching personal tributes and articles
a hero, to others a master or a sensei. But it was Dragon Ball for which written following the announcement
Akira’s career was propelled by his Akira was known best, and launched of his passing.
manga series Dr. Slump. The story of a him into worldwide consciousness. Rest in peace, Akira Toriyama.

30

“As a kid I had never seen
anything like Dragon Ball,
and it really inspired me to
draw and push myself, and
keeps inspiring me to this
day. He had such an impact
on my artistic journey, as
with everyone else. RIP
Akira Toriyama.”
Max Grecke
“Dragon Ball Z and Dr.
Slump were a big part of my
childhood. Rest in peace
Toriyama Akira.”
Goro Fujita
“Rest in peace to the manga
legend Akira Toriyama. The
artistry and monumental
impact of Dragon Ball will
live on in the hearts of fans
and creators for generations
to come.”
Cartoon Network
“Ride those clouds Mr
Toriyama. Thank you for all
the reasons Asian teens have
the wildest hair. Just Saiyan.”
Dustin Nguyen
“There’s no way for me to
write up exactly what Akira
Toriyama meant to me. My
whole life would have been
different, so much of my
childhood revolved around
his creations, and to this day
I reference his work and
design style. I didn’t know
Akira Toriyama, but I loved
him. Thank you. RIP.”
Dave Rapoza
“RIP to the masterful Akira
Toriyama. A brilliant artist,
craftsman and storyteller
whose reach will extend for
generations. A huge loss for
creators and fans alike.”
Joe Quinones
“Adios to one of the most
important and influential
artists of our lifetime.
Gracias, maestro Akira
Toriyama.”
Jorge R. Gutierrez
“Rest in peace. Thanks for
everything Akira Toriyama.”
LightBox Expo
Artist news, software & events
“No words can explain how
Toriyama Sensei influenced
us all. We’ve made friends,
discovered Japanese culture,
and developed a love for
manga thanks to his worlds.
Some of us even became
artists. His work, style and
influence, lives on in all of us
and beyond. His legacy lives
forever. It’s a day to think and
be grateful about everything
he left us. Thank you Sensei.”
Toni Infante
“Very heartbreaking news
to come out about Akira
Toriyama’s sudden passing. He
was one of the greatest to ever
do it; his stories and characters
filled millions with joy and
inspiration. Almost every artist
that I know was in some way
inspired by his amazing gift.
Rest in peace legend.”
Tony Daniel
“Wow, I can’t believe it! Rest
in peace Toriyama Sensei, and
thank you for all of your
incredible work.”
Karla Diaz
“That one hurt. Thank you for
the great adventures master.
RIP Akira Toriyama.”
Pascal Blanché
“RIP Legend. This one hits
hard. You were such a big
inspiration for us all. Thank
you for everything, sensei.”
Hicham Habchi
“Rest in peace Akira Toriyama.
He is unarguably the most
influential artist of these past
decades, who inspired millions
of kids all over the world and
across generations to pick up a
pencil and ‘draw a Goku’.”
Nico Delort
“Dragon Ball was for millions
of us the first anime and
manga we ever saw without
even knowing what it was. The
colours, the richness of action
and design, the humour, the
epic: all Toriyama. We were
children just watching Tom
and Jerry and Disney stuff.
Imagine the impact.”
Matías Bergara
“Thank you Akira Toriyama,
the one who taught me to
overcome my limits. Thank
you, for everything.”
Dan Mora
“It’s a sad day knowing the
passing of Akira Toriyama. I
grew up watching Dr. Slump
and Dragon Ball, and he was a
Forty years on from its
creation, Akira Toriyama’s
Dragon Ball franchise is
still a phenomenon.
Photographs: STR/JIJI Press/AFP via Getty and RICHARD A. BROOKS/AFP via Getty Images
big inspiration for cultivating
my love for anime and art. A
true art hero of my childhood.
As we grieve for the loss of
Toriyama Sensei, he is also an
important reminder for us to
continue pursuing our artistic
dreams and the legacy of
human creativity celebrated by
so many generations, which
can never be replaced by any
generative process. RIP.”
Stanley ‘Artgerm’ Lau
“Rest in peace king. Thanks
for everything.”
Mad Boogie Creations
“Mr Toriyama was one of my
biggest inspirations. Without
him and his impactful work, I
would not have been so
captivated by art and stories as
a child. His influence to not
just myself but so many others
around the world cannot be
measured. My condolences to
his family.”
Karla Ortiz
“All the childhood memories,
watching the anime on TV,
copying the way he drew
muscles and cloth folds. Thank
you for all the fun, Toriyama
Sensei. Rest in power.”
Kael Ngu
31
 ImagineNation News
The new home of Vertex,
London’s Business Design
Centre, is a fantastic venue.

Get set for Five things…

… you must see on

Vertex 2024!
your visit to Vertex!

Unforgettable event Our artist-focused festival returns in person

1 Insightful talks
from top artists
Industry pros will be sharing
their stories and career journeys.

with a host of speakers from the biggest names in the business

Vertex is back as a live

event this year, taking
place in London on 19
together our community and the
industry, and now it’s back again
to give attendees a packed day
2 Learn new skills
in our workshops
If you’re looking to level up
then Vertex is the place to be, with
live workshops from pro artists on
all manner of subjects.

April, and ImagineFX
Editor Rob Redman
explains why you should join us.
“Before the pandemic we launched
3
of practical inspiration,” he says.
“If you’re out to get inspired,
or learn a new skill, Vertex is the
place to be. You’ll hear about the
Expert demos
Peek over the shoulders of
pro artists as they work.

Vertex, an art festival that brought
journeys of your heroes, gain
insights from their experiences,
and watch as they run live demos.
“Interested in the cutting-edge
innovations of creative tools? Get
hands-on with them in the expo area!
4
Portfolio reviews
Sign up for a portfolio review
to get invaluable advice from
the people who count and move a
step closer to your dream job.

Get your hands on the latest tools and tech to see
what could benefit your workflow.
5
And if you need some tips to land your
dream gig, book a slot with our expert Try out new tech
portfolio reviewers to get ahead.” Tour the exhibition to
Vertex 2024 will take place on explore all the latest tools
Friday, 19 April at the Business Design and technology to help you with
Centre in London. For info and to buy your artistic endeavours.
tickets visit www.vertexconf.com.

32
 Artist news, software & events

FEATURED
ARTISTS AT
VERTEX
From video game designers to big screen
Alina
Fedaseyenka
The associate
RaidesArt and
LeffiesArt
The top twin
J.M. Blay
The founder
of production
Pablo Carpio
Pablo is a
concept artist
art director at illustrators company Blay and art director
hit-makers and more in between, meet nDreams, Alina are an ideal Studios has who has linked
our incredible line-up of industry experts was integral in duo to share worked on films up with the likes
the success of their advice including Guardians of the of Disney, Pixar and Marvel
ready to share their wealth of insights hit VR game Synapse. for collaborative working. Galaxy and The Hobbit. Studios in his career.
https://bit.ly/3IHvWoK raiffiesart.com www.blay.info www.pablocarpio.com

Dolph Souza Charlie Pickard Nana Dhebuadze HaZ Dulull Thomas Elliott Glen Southern
Dolph has a Figurative artist The freelance After starting Interested in 3D expert Glen
penchant for Charlie is also concept artist out in VFX, HaZ wargarming? runs his own
design-driven an author and specialises in switched to Then you won’t studio, and has
animation and trainer who has environments directing and want to miss out worked with
storytelling, and written a variety and keyframes, producing films, on the former Netflix, LEGO,
will be part of a panel on of tutorials on anatomy and has previously worked and co-founded his own Games Workshop artist’s Adidas and many other big
video game marketing. and more for ImagineFX. with Wizards of the Coast. company, HaZimation. special talk at Vertex! names during his career.
https://bit.ly/3TiKeRm https://bit.ly/3R3Dcz3 www.nanadhebuadze.com https://hazimation.com https://bit.ly/3TLy7Ou www.southerngfx.co.uk

Hazel Mead Mike Griggs Simon Hughes Anna Hollinrake Andy Poyiadgi Dylan Sisson
Hazel has no Mike is a digital Union VFX The co-founder Andy has a Veteran Dylan
fear of tackling content creation creative director and creative background in has been a key
taboos in her consultant who Simon’s CV also director at indie commercials, figure at Pixar
illustrations. She has decades of includes time at game studio video games since 1999, and
creates stunning experience in studios such as Electric Saint, and broadcast has contributed
art and diverse characters solving pixel problems for Cinesite and DNEG, plus a Anna has worked on video promos, and is a published to the development of its
with meaning and story. a range of global brands. host of major film titles. game and TV projects. comic author and artist. RenderMan software.
www.hazelmead.com www.creativebloke.com www.unionvfx.com https://annahollinrake.com www.ajpoyiadgi.com www.dylansisson.com

David Levy Brynn Metheney Ibby Karim Rafi Nizam Jane Paton Pernille Ørum
Internationally Monster maker Ibby is an art An all-round Jane is the lead Pernille was the
known concept Brynn has had director at ICHI, creative, Rafi is compositor at lead character
artist David, a hand in both and combines an independent Union VFX and designer for DC
whose movie publishing and his talents for showrunner and has experience Super Hero Girls
credits include films. At Vertex, ideation and has 25 years of at a number of and made her
Star Wars, will talk about she’s set to deliver a talk on incredible visual execution experience in the media big studios in the sector, comic art debut on Mark
developing his own IP. crafting creature designs. in video game projects. and entertainment worlds. such as ILM and Cinesite. Miller’s Hit-Girl in 2019.
https://vyleart.com www.brynnart.com www.ichi-worldwide.com https://bit.ly/3TpVICS www.unionvfx.com www.pernilleoe.dk

33
 ImagineNation Artist in Residence

My web camera for taking I hung these string lights This sculpture was given
Zoom calls. On the wall up in the studio to create to me as a gift, rather than
next to it you can see a some general ambient being made by me. It’s
limited-run promotional lighting. I much prefer to just something that I like
poster from Riddick, have low-level lighting to keep among all of
which I storyboarded on. when I’m in the studio. my woodworkings.

Charles Ratteray
Here you can see my light
box, which I’ll use when I’m
creating my initial sketches
and concept ideas before I
get to scanning them in.
A printout of the branding
logo that I use for myself. It
was also going to be a test
piece for the cover of the
sketchbook I’m working on.

Page-turner Library meets laboratory in the artist’s

studio, packed with inspiration and a mix of media

I often think of my
workspace as a lab. I
spend so many of my
waking, working hours
experimenting in here,
tinkering, fashioning, ingesting new
knowledge, and fostering explosions
of creativity. I have several areas
designated for different activities.
The Cintiq area is where I do all my
digital professional storyboard and
concept work. On the other side of the
room I have a wall that I’ve set aside
for brainstorming. I like the idea of
writing out ideas as they come to me,
and have taken a section of that wall
and layered it with a roll of whiteboard
film, which allows me to quickly jot
down ideas with Col-Erase markers. I
like leaving it up like that because I can
remind myself with notes and quotes
as I go in and out of the room.
By the window, I put most of my
wooden artworks that I’ve drawn on
with markers, pens and pencils. I really
enjoy making things with my hands in
3D space and have paintings, clay
sculptures, and pieces of wood that
I’ve treated and drawn on dotted all
throughout the studio.
Traditional art is truly my favourite,
and I usually reserve that form of
expression as gifts for people, or

34
Artist news, software & events

I spend a lot of time in

the library each day. I’ll sit
on the couch as I go from
book to book, and often
take an organic approach
to studying, going through
an array of titles. I love how
everything is in arm’s reach
for cross-referencing.

35
 ImagineNation Artist in Residence
for personal use. I typically express
what I like to call freestyle art, which is
art that’s allowed to flow freely from
my subconscious and through to my
hands, manifesting as it is without any
judgement. I’ll find myself expressing
lots of symbolic, abstract writing and
shapes. The characters can manifest,
blending and morphing into the next
stream of elements.
I love my library. I reference many
subjects daily to further my awareness
The typical setup I’ll have
when I engage in a creative
sketch session. Papers,
pens, and a light table at
the ready to refine ideas
with traditional tools.
36
Sketch of a character
I’d been toying with but
hadn’t realised fully. He’s a
man seasoned in the arts of
war; a swordsman by trade.
The shelf on the left is reserved for As I don’t really keep sketchbooks
graphic novels and omnibuses, and so much as drawers full of loose
books on film directing, editing and sketches, I’ll often put them on the
cinematography, while the top shelf wall to see differently at a glance,
features artbooks from many films. juxtaposed with each other.
I’ll find myself expressing
plenty of symbolic, abstract
writing and shapes
in both the arts and filmmaking. The
majority of the books in the library
are technical or graphic novels and
related to architecture.
As far as the lighting goes in the
studio, I prefer soft light. During the
day I like to have the windows and
blinds open, and the beige-coloured
drapes offer a nice softening of the
light. In the evening, however, I enjoy
controlled low-lit amber LED lighting
accompanied by string lights. I also
like to burn candles and incense, as
both set a pleasant tone in the studio
with lingering aromatic notes.
Charles is an LA-based storyboard artist,
concept designer and illustrator who has
worked in the entertainment industry for
25 years with major companies including
I often draw on blocks of wood with ink, paint pens
Marvel, Netflix, Riot Games and Disney. and coloured pencils. Sometimes I burn them with a
www.artstation.com/charlesratteray torch lighter for an airbrush gradient effect.
 Artist news, software & events

This shelf is comprised of

books on technical figure
drawing, anatomy, writing,
improv and traditional
acting, as well as fashion
and graphic design.

A sculpture experiment I called Surrender. It Check out a collection of the characters drawn on
features a seated man with his shoulders at an my sketching pages, all beautifully arranged into a
off-angle and multiple arms grasping the base. single-page compilation.

A large pen and ink drawing

treated with watercolour-
type shading for the tone.
The ideas on the wall are
written with Col-Erase. A Halloween-style plastic mask that was first painted black with spray paint,
before being drawn on using my acrylic paint pens.

Sketch compilations from

a page of the sketchbook
that I’m currently working
on and developing.

37
 Complete your collection!

Missed an issue? Here’s how you can order

previous print or digital editions of ImagineFX
Recent print editions
Visit: bit.ly/ifxbackissues
Apple Newsstand
Download us from the Newsstand app on your
device or visit: ifxm.ag/apple-ifx
Android, PC or Mac
Pocketmags: pocketmags.com/imaginefx
Zinio: zinio.com/gb/imaginefx-m2956
Other devices
We’re available via nook on Barnes & Noble
and Amazon’s range of Fire tablets. Only the
most recent
editions are
available in print
WHILE
PRINT AND DIGITAL BACK ISSUES STOCKS
LAST!

Issue 238 Issue 237 Issue 236 Issue 235

May 2024
We go all out on manga with a
full feast of tutorials, including the
vibrant cover from our star artist
Julio Cesar. Blizzard’s Airi Pan
shares her mission statement in
our big interview, plus we visit
Wayne Barlowe’s curious studio.
April 2024
Learn how to design incredible
book cover art with bestselling
artist and author Tony DiTerlizzi.
DC artist Liam Sharp also talks
about his creative formula, and
we get expert advice on painting
a ferocious fire-breathing dragon.
March 2024
This month’s awesome cover star
Daniela Uhlig shows you her pro
techniques for creating Procreate
portraits. Plus, we discover what
life is like in the games industry,
and how Aaron Blaise made an
adorable Disney-style animation.
February 2024
Become a master of anatomy as
expert artists share their insights.
We learn to unleash the power of
foreshortening, and speak to the
legendary Disney teacher Glenn
Vilppu. Plus, discover 15 must-see
tips to improve your sketches!

BUY PRINT EDITIONS

OF IMAGINEFX AT: bit.ly/ifxbackissues
38

YOUR FEEDBACK & OPINIONS
Contact the editor, Rob Redman,
on mail@imaginefx.com or write
to ImagineFX, Future Publishing,
Quay House, The Ambury,
Bath, BA1 1UA, England
Follow us on X:
x.com/imaginefx
Find us on Facebook:
facebook.com/imaginefx
Share your artwork via #imaginefx:
instagram.com/imaginefxmagazine
Fundamentally fantastic
Hi Rob, I use a variety of mediums in
my art, from watercolours to Procreate.
I’ve always found that it’s really easy to
get information about projects and
pieces of art, which can be very useful.
However, it can be much more difficult
to build up the fundamental skills that
make you a better artist.
That’s why I wanted to say thank you!
I’ve been reading Charlie Pickard’s series
and it’s exactly this kind of information
that I believe will help people learn to
develop their creativity. At least, that’s
how I feel about it.
Andrea, via email
Rob replies I couldn’t agree more there
Andrea! There’s definitely a place for
walkthroughs on existing artwork, as so
many people like insights into how others
approach their work, but I think it’s true to
say that if you can become a master of the
fundamentals, then that allows so much
more scope for creativity. Understanding
light, form and values gives power to the
ideas that every creative has.
Letters
New works that have
grabbed our attention
Our last issue featured wonderful work from the
sketchbook of ChrissaBug.
I’ve got the bug
I just wanted to write in and say thanks
for sharing ChrissaBug’s sketchbook. I’m
a massive fan of hers and follow her on
Instagram, but there’s something extra Mate Jako
special about seeing my favourite artists @EntennStudio
in print. Can we get more please?!
Dahlia, via email
Rob replies Hi there, Dahlia. I’m so
pleased that you enjoyed our look into
Chrissa’s sketchbook. We did too! I’m all
for following fantastic artists online and
you do get some early glimpses of new
work, or even upcoming projects, but you’re
quite right; seeing someone appear in print
is very special indeed. It feels that little
more permanent for a start. Online, as
soon as you scroll down you’re likely to
Master the basics of
figure drawing with our
never see a piece again, but every time you
series by Charlie Pickard. flick through a magazine you’re reunited
with that gorgeous art.
Manga-tastic!
ImagineFX team, you’ve blown things Eric Messinger
out of the water with your last issue! @ericmessingerart
Being a huge anime and manga fan, I
was so happy to see you cover it in such
depth. Not simply because there was a
lot of it, but because it was really varied. I
don’t think a lot of people understand
how many styles of manga there are and
to see it in my favourite art magazine
was awesome. Thank you!
Micky, via email
Rob replies Thanks so much for the
kind words. I always love to hear such
enthusiastic responses to the magazine! As
DID YOU MISS for your thoughts on manga, you’re quite
THE PREVIOUS right. It’s easy to think of manga as cutesie, Jess Amy
PACKED ISSUE? big-eyed, teenage girls, massive swords, @jessamyart
Don’t worry –
you can get hold and odd creatures, but there’s a huge
of issue 238 variety in terms of content and art style. If you’ve created art that you want us to
We’re fans here too, so look out for more shout about simply tag us on X or Instagram,
at ifxm.ag/ and use the hashtag #imaginefx
single-ifx. coverage in the future.
39
40
T HE A RT O F
 Dominic Carter
talks to the artist
about getting into
games, the value of
traditional mediums,
and beating burnout

régory Fromenteau isn’t

afraid to change things up.
Over the course of his career,
which now spans more than 20
years, he’s shifted from animation
to video games and picked up a
diverse range of skills in the process. We caught up
with him to learn more about his work, and why he’s
reverting to traditional mediums as generative AI starts
to creep into the art industry.

How did you get started as an artist, and what has your
IN THE CANAL
career been like so far? Grégory’s whimsical
Fish & Ships series sees
Since I was a child, I’ve been addicted to painting. I’ve always nautical craft strapped
Grégory Fromenteau

existed in a sci-fi and fantasy world. I was drawing ideas to oversized marine life.

41
Interview
Artist
PROFILE
Grégory Fromenteau
LOCATION: Canada
FAVOURITE ARTISTS: Jean
Giraud, Mike Mignola, Enrico
Marini, Craig Mullins
MEDIA: Photoshop, Procreate,
watercolours, ink
WEB: www.artstation.com/greg-f

from the novels I was reading,

which included classics by Asimov
and Tolkien. Comics were also always
available to me, and I liked to mimic
their epic scenarios or even combine
characters from other comic books.
So it should come as no surprise
that I studied literature and art, and
earned a baccalaureate. I then studied
a master’s in visual communication
after learning about new media and
3D, which was in its early stages.
I started off as a generalist artist in
the cartoon industry; everything from
layout to modelling, and texturing to
lighting and rendering was covered. It
was an excellent way to discover new
methods and learn how the whole
business operated.
Then, after three years, I made the
decision to jump into video games,
which had kind of been my objective
ever since I began working with 3D. I
relocated to Montreal in order to work
in this field, and I’ve been doing it for
17 years now. Over that time, I’ve
worked in a wide variety of roles on
well-known series like Prince of Persia,
Assassin’s Creed, and Tom Clancy’s
Rainbow Six, and I’ve learned a lot
from each production. Making video
games continues to be fun for me,
especially the execution.
SEAL RIDER
An explorer takes to the skies
on a miraculous flying seal.
How has your art developed, and
what has driven those changes?
I’ve dabbled in everything, from
concept art and level design through
to animation, but what I like the best
is the completion of a full project. I
worked as a lighting artist for a long
time because I loved the technical
challenges of striving to produce the
CITROËN DS best results. I believe that constructing
A classic car finds a worlds and figuring out how to make
new home in a strange,
futuristic world. things fit together more attractively is
what ultimately inspired me to pursue
art direction.
You’re the executive art director at
Behaviour Interactive. What does
this position involve?
It’s a new role for me. As the executive
art director, I directly manage the art
directors and I’m also in charge of the
visual quality we deliver at Behaviour
Interactive. So instead of me just being
responsible for one specific project, I’m
overseeing them all; giving guidance
and support to the art directors and
creative directors, and sharing my
insights from my past projects.
I really enjoy it. The exchanges with
the teams and the responsibility to
find solutions that achieve the best
quality are exciting and motivating for
me. I’m always proud of what we can
accomplish as a group of artists from
different backgrounds. On top of this,
I actively participate in the hiring and
training to promote and motivate our
art community at the studio.

What made you decide to move from

the animation industry to games?
That’s a good question. Well, firstly I
love video games. And secondly, I
think the real-time rendering was
appealing as it allowed me to see

42
 Grégory Fromenteau
RHINO BEETLE
FLYING DISTRICT KEEPING
IT REEL
It’s not just the
underwater critters
who take to the skies
in Grégory’s art.
Grégory shares his
top demo reel tips for
aspiring game artists
applying for jobs

1 Make sure there’s consistency

in your portfolio. Avoid too
much variety and skills that you
haven’t mastered yet.

2 Focus on the tasks and

skills you want to do, rather
than those you ‘could do’ but
don’t particularly enjoy doing.

3 Be aware of what currently

exists on the market and
what the company that you’re
applying to produces.

4 Apply for a specific position,

even if you have a variety of
skills. Mention those other skills
FISH & SHIP during the interview, but don’t
A medieval city soars forget about the position you’re
through the sky on the
back of a giant goldfish. being interviewed for.

5 My final tip is simple: be

yourself and be honest!

MOOSE RIDER
A futuristic rider
saddles up on an
unconventional
mode of transport.

I’ve dabbled
in everything,
from concept art
and level design
to animation
43
Interview
all the results right away, rather
than waiting hours for rendering and
compositing, which is what I was used
to in the animation industry.
A video game where you control a
3D character gives you the pleasant
sensation of being a part of the movie
as opposed to just viewing it. My
experience playing the original Prince
of Persia: The Sands of Time game is
what inspired me to play a lot more
later on. I had no idea that I would go
on to work on the series throughout
my professional life.
How is working in the video games
industry different?
It’s a different world. There are more
technical constraints, but I do like the
44
TURTLE SHIP
Move over Discworld,
this flying turtle is
coming through with
a galleon on its back.
challenge. The games need to run on
consoles with a good frame rate, so
pretty much everything involved is
a compromise. With video game
production, it’s always 50 per cent
technical art; it’s all about finding the
solutions to make a title work and
achieve a certain level of quality, so
everyone has to contribute and rely on
each other. Every millisecond counts, MOON FISH on Instagram or ArtStation first thing
and everyone on the team is key to By working with in the morning. After that, it becomes
traditional inks, Fish &
that success, so I’d say that there is Ships gains a suitably more about diving into the projects
old-fashioned feel.
some freedom, but you achieve it in a that we’re working on right now and
very different way. collaborating closely with my group
of art directors, making sure we’re
What does your average working focusing on the proper priorities and
day look like?
To get my head going and see new
things, I like to look at some artwork
Like many artists, I’m never
completely content with my
work and rarely proud of it
providing high-level feedback. I like to
occasionally draw when I have time.
Do you ever feel burnout? And if so,
how do you deal with it?
Yes, I do, and I believe that’s typical.
How do I handle the fact that we can’t
all be incredibly creative 100 per cent
of the time? I simply accept it and
move on because my brain is telling
FERRARI 250 GTO me that I need a break.
As a self-confessed All artists need creative breaks, so
petrolhead, cars often
feature in Grégory’s art. instead of getting frustrated, I do
 Grégory Fromenteau
NEW RIDER
A new motorcyclist prepares
themselves before zooming
off on their futuristic bike.
something completely different like
taking a stroll, snapping photos, or
talking to friends. The inspiration
generally returns rather quickly, so I’d
say the key is to avoid trying too hard
or getting discouraged.
Of all the work you’ve created so far,
what are you most proud of?
Just like many other artists, I’m never
completely content with my work and
OVER THE ROOFTOPS rarely proud of it. If I had to choose
Is it a bird, is it a plane? Nope, it’s another of Grégory’s whimsical whales
carrying a classic ship through the clouds. one series that I particularly liked, it
FERRARI 330 P4
A driver takes their Ferrari out for
a spin on the roads of tomorrow.
would be the one I created a few years
ago using vintage cars that I’d adored
as a child and imagined them in
dystopian sci-fi settings.
Drawing vehicles is something I’ve
always enjoyed, even though it may be
challenging to get the right lighting
and reflections. Nevertheless, I was
still pleased with how these pieces
turned out. I worked on this series for
several months, taking my time and
meeting no deadlines. It was exciting
to bring back these vintage cars
45
Interview
VIEW FROM THE TOP
The characters and
perspective bring an
extra dimension to this
detailed illustration.

FANTASTICAL
UNDERSEA
INSPIRATION
Grégory on the creation of his
work Passing By Over the City
I love top-down views with extreme
perspective, they’re great for showing off
tons of details while maintaining a focal
point. Drawing whales with ships strapped
to them is something I regularly do in my
Fish & Ships series.
For this one, I started with a rough
sketch of the whale and the ship, and gave
them a steampunk twist. I usually gather a
bunch of references, and in this case I
looked up sailboats and old train engines.
The city was the second thing added as I
wanted more depth besides the clouds.
Then I added the foreground character,
before including the ocean with the little
boats at the end.
Adding depth to a drawing is something
I really enjoy, and I even imagine how I
could separate the image into layers to
make a parallax animation with it later on.
Once this is done I do a clean ink pass, add
most of the details and remove what’s left
of my rough pencil sketch. I then scan the
image and move it over to Procreate for a
colour pass. I use the basic Watercolour
brush, but sometimes use real watercolour
on paper, depending on the time I have.

46

HOUSE ON THE ROCK
Who wouldn’t want to live in a remote castle
surrounded by flying goldfish?
and entertaining to hear the
responses of people who had no idea
that they existed.
You’ve released a second volume of
your sketchbooks. What do you feel
you’ve learned about your work by
putting these together?
During the pandemic, I returned to
traditional drawing, and was surprised
by how much people liked it. It all
started when I participated in Inktober
2020, and many of my friends began
requesting prints. I decided to compile
them into a book, and because it was
well received, I made the decision to
publish a second volume last year.
I’ve appreciated it since it contains
much more personal work, which is
different from what I draw on a daily
basis. There are no restrictions, and
I’m pleased to find that traditional art
NEW BOAT READY TO SAIL
I see no fish; this ship appears to be
waiting for aquatic assistance.
still holds great interest among people
in addition to digital art.
What’s next for you? Do you have
any exciting projects coming up, or
are there areas you’d like to explore?
I’ll continue to draw for sure, and yes I
do have some very exciting projects
coming up that I can’t talk about yet. A
lot of people asked me to do a comic
book with my Fish & Ships universe,
so that’s something I might look into,
but I also know how much work it’ll
Grégory Fromenteau
Don’t forget to give yourself
a break sometimes; trial and
error are part of the process
require and how difficult it will be. I
have no clue if it’ll eventually end up
in something, but I’m curious to give it
a try. Otherwise, traditional sculpting
F40 AT A RED LIGHT is also something I’d like to get back
Even in the future, into. Traditional art is a medium that
classic cars must obey
the rules of the road. is more and more appealing for me,
which is surprisingly timed with the
rise of AI in the art world. So we’ll see!
What advice would you give to
aspiring artists?
Be curious about everything, don’t
restrain yourself to only what you like.
Art of all sorts should be a point of
interest, and your brain will remember
what might be valuable in the future.
Draw, and have fun doing it. Don’t
become a frustrated artist. Enjoying
what you do is more important than
likes on social media. Keep an eye on
the technical aspect of the video game
industry, as it’s an important part of
the equation. You don’t need to be an
expert, but do be aware of what exists.
And don’t forget to give yourself a
break sometimes; trial and error are
part of the process.
47
 Artist
PROFILE
Robert Laszlo Kiss
LOCATION: The Netherlands

r t
Having studied industrial

o be
engineering at university,

R
Robert merged his career
with a passion for concept
art and went on to work on
Guerrilla Games titles such as Killzone:

iss
Shadow Fall and Horizon Zero Dawn.

K
Currently freelance, he also creates

szlo
content on YouTube and Instagram.

La
www.robertlkiss.com

e
rial background as h WANDERER
ust s
ows his ind s mechanical design
“Fineliners and ink wash are two

t a r tist sh of my favourite mediums to use. I’m

The concep variety of marvellou

not the most comfortable with colour,
so working with values in a traditional

a
constructs
way is where it’s at for me, especially
since I grew up with a lot of
art like this.”

SPACESHIP
INTERIOR
HAVOCH “Interior explorations for a hero
ship. I love the gravity created by
SPIDER
“During one Inktober,
acceleration that forces ships to have
vertical architecture. It’s interesting
having to think about design that
I came up with this little has to work with both
spider robot that can be gravity and 0G.”
carried around and released
close to the front line. The FISH SHIP
“An ink wash sketch from a previous Inktober
mech scurries over to the
enemy and makes chaos. where the prompt was ‘fish’. That year I tried to only
It was a fun sketch draw spaceships based on the prompts. It’s quite a fun
to work on.” challenge to set for myself, and I ended up with
a couple of interesting designs.”

48
 Sketchbook Robert Laszlo Kiss
THE
GREATER GOOD
“Ever since I discovered the
Tau in Warhammer 40,000:
Dawn of War – Dark Crusade,
they became my favourite
faction in that universe. I
love their design and feel
I should draw them
more often.”

CYBERPUNK CAR
APC “I’m pretty sure I was inspired

CRAFT
“Another ship from the
cyberpunk car sketches. This was a
year or so before Cyberpunk 2077
Inktober series where I was
drawing ink wash ships. The
prompt was ‘armour’, and I
wanted to do a spacecraft
that was sort of a mix of
something like a Boxer
APC and a gunship. I
was quite happy
with the end
result.”
by Fernando Correa’s amazing
came out, coincidentally, and I
found myself really getting
into watercolour during
that time.”
SCOUT
BALL MECH
“One of my favourite
Inktober sketches, as I was
coming up with it while
doing the pre-sketch with
pencils. I liked the silly idea of
the eyeball in a mech with
no arms and the results
were good. It made
me like ink wash
even more!”

I liked the silly idea of the

eyeball in a mech with no arms.
The final results were good

49
 LIFE DRAWINGS
“I love life sketching in parks. I have a
small travel watercolour set and usually
carry a mixed-media sketchbook. On hot
summer days I love sitting in parks
and sketching what I see.”

MECH WALKER
“Inspired by Star Wars, my
version of a Sandcrawler mixed with
an AT-AT walker. A good old marker
sketch with fineliners, this is
my comfort zone.”

WATERCOLOUR
MARKERS
“I have a set of watercolour markers
that are a bit hard to control. They’re
quite saturated and can cake on
quickly. But it’s a fun challenge
to figure out a way to work
with them.”

HOVER CAR
“One of my favourite things to do is
take old school cars, rip off their wheels,
and put hover engines and technology on
them. Also, drawing with fountain
pens can be quite fun.”

50
 Sketchbook Robert Laszlo Kiss
LOOP RUNNER
“I love time travel and time loops, so when
one of the Inktober prompts was ‘loop’, I just
had to come up with something based on
time travel. This is a particle accelerator
testing teleportation tech.”

COOL BOI
“Another of my
cyberpunk-phase
drawings in watercolour
and gouache. I’m still in
the uncomfortable phase
with gouache and hope
one day I can use it
as easily as I do the
watercolours.”

It’s not necessarily

about being good, but
enjoying the process

EXO ROVER
“With this sketch, I started feeling quite
comfortable with my fineliner and watercolour
workflow. It’s not necessarily about being
good but enjoying the process and the
medium, even if the results aren’t
what you wanted.”

FIGHTER CRAFT
“Again my bread and butter fineliner
and markers, which are the fastest way
for me to sketch. No undo, no erasing,
living with your mistakes and
building on them.”

51
 KAIJU
FIGHTER
“I tried more of
an illustration style

HERO SHIP
with my markers. It’s
not my preferred way
“I love sci-fi hero ships. I wanted to of using markers as I
SILLY create my own inspired by Cowboy Bebop, feel stiff throughout
the whole rendering
AA CAR
The Expanse, Firefly and Star Wars: Knights of the
Old Republic. I had this idea of a slightly U-boat process. I guess I
“One of the inspired design that also lends to a small, have to do this
examples where I specialised crew and their more often to
didn’t think too much quarters.” get used
about the design. I to it.”
just wanted to try
out a new set of
watercolours
that I got.”

DREDGE
FISH STUDIES
“I love video games, not just
because they’re fun to play but
also as they inspire me to create.
These are studies I did based on
the different types of fish that
you can catch in the game
Dredge. I loved all the
game’s art.”

52
 Sketchbook Robert Laszlo Kiss
WOLF GUARD
“With my limited knowledge
of Warhammer 40K I find space
marines the least interesting things
to draw from that universe. That
said, the ornate power armour of a
Terminator does make me happy,
especially when I can vary my
watercolours and challenge
myself with the
materials.”

CARGO
MOVER SHIP
“For last year’s
Shiptember, I did all
the drawings in fountain
pen, which was super
fun! I love functional,
industrial-looking ships
over warships. This
ship moves cargo
containers.”

SKETCHING IS FUN
“Sometimes I just sketch aimlessly as a reminder
of how I drew when I was young, especially if I want
to try out some new tools, in this case watercolour
markers. I like to combine these explorations
with studies; it’s always good to brush
up on those figures.”

ROBO
CHEETAH
“I love taking human or
animal poses and turning
them into robots. This was
either a dog or a cheetah I
assembled into a mechanical
beast. You can take the
speed and dynamism
of a photo into your
drawings like
this one.”

Sometimes I just
sketch aimlessly as a
reminder of how I drew
when I was younger

Do you want to share your sketches with your fellow ImagineFX readers? Send us an email with a
selection of your art, captions for each piece and a photo and bio of yourself to sketchbook@imaginefx.com

53
 GET IMAGINEFX
DELIVERED DIGITALLY!

GO
DIGITAL!
Our digital editions
come with the same
resources included in
iPad is a trademark of Apple Inc., registered in the U.S. and other countries. App Store is a service mark of Apple Inc.

the print edition!

Available via our online shop

www.magazinesdirect.com/imaginefx-magazine
Available on iOS or Android

54
 GET YOUR
RESOURCES
See page 5 now!

Workshop assets
are available…
Download your resources by turning to
page 5. And if you see the video workshop badge,
you can watch the artist in action, too.

Advice from the world’s best artists

56 68 This issue:
56 Illustrate a
magical character
Follow along as cover artist
Selenada walks through her
step-by-step workflow.

62 Recreate gouache
effects digitally
Choro Choi takes an element
from her traditional art hobby
over to the digital arena.
62 64 Simplifying
the value scale
In the fifth part of his series,
Charlie Pickard explains the
importance of values.

68 Draw futuristic
vehicle designs
John A. Frye hops into his time
machine as he constructs a sleek
sci-fi vehicle using Photoshop.

74 Draw fast and jot

down your ideas
Ashot Avetisyan advises you to
76 82 note all your creative ideas in
case they come in handy.

76 Develop 3D skills
for concept art
Find out how to use Blender and
more in Gaëlle Seguillon’s scene,
inspired by John Howe’s art.

82 Start off with

simple shapes
Brandon Le uses basic building
blocks to create a terrifying
leviathan for his artwork.

55
 Workshops

56
 In depth Magical character art

Clip Studio Paint

ILLUSTRATE
A MAGICAL
CHARACTER
Selenada crafts a stunningly detailed artwork
using the wealth of tools in Clip Studio Paint

Artist For this illustration, I

PROFILE was asked to create a
fun, bright image with
Selenada the theme of making
LOCATION: Switzerland
artwork magical by
Ulyana Regener, also the developers behind the digital
known as Selenada, has
been fascinated with the
drawing app Clip Studio Paint.
fantastical since she was Although it was my first time
a child. After swapping painting with the software, I found
her path from music to
art, she has worked on
myself completely immersed in the
illustrations for an array world of digital art from start to
of leading publishers finish. It features a wide variety of
seeking her touch of
magic and immersion. brushes and I loved how the colours
https://bit.ly/3wWAchw mix and blend just as they do when
working in traditional media.
In this walkthrough, I’ll show you
how to use Clip Studio Paint’s many
features to make each stage of the
painting process smoother, from the
first sketches right the way through
to the painting and making those
final tweaks for the perfect image.
Now I’ve tried the app, I can’t wait to
explore more possibilities with it in
my next artwork!

57
 Workshops

Rough sketches
1 Start with a few rough
colour sketches to meet the
brief, aiming for simplicity. I
like to keep lines and colours on
separate layers so the painting
process is easier later on. At this
point, I avoid polishing any
details, as the concepts are still
fluid and subject to change.
This allows me to focus on the
overall composition and mood
without getting distracted by
any intricacies that may evolve.

Model exploration
2 The 3D design models in
Clip Studio Paint offer an easy
way to explore various angles
and compositions, and are good
for getting accurate proportions
and hand placement. With this
tool, I adjusted the character’s
pose for precision and realism.
This guarantees the finished art
is both natural and balanced.

Repaint the sketch Refine sketch lines for painting

3Once the sketch is approved, start to refine it. I embraced a shift 4 Hide the colour sketch layer, and refine or remove unnecessary
from a galaxy to a rainbow theme, integrating a new background and details. During this process, I used fine line brushes found in the vast
reworking the brushstrokes to unleash a spectrum of colours, lifting library of Clip Studio Assets. These tools enable precision when you’re
the backdrop’s luminance and injecting a burst of vibrancy. defining contours and enhancing the clarity of the composition.

58
 In depth Magical character art
Colour block with Lasso Fill
5 Block in the shapes of the skin, clothes, hair and paint splash on separate
layers with the Lasso Fill tool and Alpha Lock each layer. As my sketch lines are
loose with a lot of gaps, it’s easier to use the Lasso Fill tool to draw the outlines of
the fill areas. If any areas need adjustments to the shape, go back in with the Lasso
Fill set to transparency and adjust the shapes.
Paint satin clothes
7 I decided on a glossy satin for the dress in this illustration to get a sleek and
elegant look. Express the texture by combining sharp highlights and shadows in
the fabric’s creases. I particularly did this around the brooch where the fabric is
bunched together in small folds. On the larger areas of the fabric, blend softly and
leave visible brushstrokes to represent the texture.
Build the 3D shapes
6 With the layers set to Alpha Lock, start to paint in
shadows to make the shapes appear 3D. I prefer to start
with the face, as it’s the focal point of this illustration.
Once there’s enough shape to the colours, hide your
sketch lines layer and continue painting in more detail.
For this illustration, I’m using the default thick paint
brushes within Clip Studio Paint. I really like how well
they emulate traditional media, which allows me to
achieve the desired artistic look.
BEFORE
AFTER
Switching the brooch
8 After painting the glass accessories from my sketch
design, I decided to paint a new brooch that matched the
elegant feel. I kept the layer with the original design and
then used Layer Comps with different combinations to
quickly compare how they came together, before settling
on the new feathered design for the brooch.
59
 Workshops

Create shadows and atmospheric light on the skin

9 While painting the skin, make sure to add warm tones in the shadows, as well as reflective rim lighting from the background. On the
left of areas like her neck and arms I added subtle blue, which reflects atmospheric light from the sky and bounces onto her skin from the side
opposite the sun, creating a balanced interplay of light. With a bounce light from her arm and clothes, these nuances add depth and realism.

10 Make corrections with the Liquify tool

While painting, I often use the Liquify tool to fix the shapes, such as adjusting the belt and the fabric around it here. This tool is handy for
small tweaks later on so I don’t have to repaint everything. It’s super easy to use, which helps a lot when I need to change details that don’t look
right. Using the Liquify tool often throughout my work makes it simple to keep everything looking just the way I want.

60
 In depth Magical character art

BEFORE AFTER

Develop details in the background

11 When you’re satisfied with the character’s rendering, add a little more detail to the background. For instance, I refined the clouds while
keeping the shapes soft and painterly. I tried a few variations of the design until I was satisfied with the soft and fluffy look, and then added
some stars and sparkles to provide a little extra detail without being too distracting from the focal points of the image.

Colour adjustments with Overlay 13 Chromatic aberration

12 Once the painting is done, I made some colour
adjustments to brighten the image and add some more
glow to the fabric and glass accessories, painting over on
layers set to the Overlay and Soft Light blending modes.
As a last step, I use the filters for Chromatic Aberration and Noise to soften
the overall look. I apply Chromatic Aberration to the brightest parts of the image,
such as the jewellery and highlights, to intensify the glow effect and make the
scene more radiant. Lastly, I add a fine Colour Noise over the entire image, and
adjust the opacity of these two layers until I’m happy.

61
62
Technique focus “I’m interested in
images of bones,
perhaps because they
RECREATE evoke death and reveal
the brighter aspects of
GOUACHE life by contrast. This is the first in a
series of images based on photos of
skulls and animal bones. I started by
EFFECTS making a pencil sketch in Procreate,
Discover why Choro Choi then coloured it in Photoshop and
Workshops

Procreate. Lately I’ve been painting

has imbued visuals from
traditional art into her
latest digital pieces
using gouache and found a love
for the unpredictable effects
of traditional mediums. I
wanted to add that to my
CG art, so I used rough
brushes and restrained
myself from modifying
the strokes to recreate
a similar look.”
 Artist
PROFILE
Choro Choi
LOCATION:
The Netherlands

Choro is a concept artist

in the gaming industry
who currently works at
Guerrilla Games. She
majored in fine arts and
specialises in concepts
with a sci-fi, military feel.
https://bit.ly/3IAYZtV
Tech Focus Traditional touches

63
 Workshops
Artist insight
PART 5: SIMPLIFY
THE VALUE SCALE
Charlie Pickard introduces his top advice for achieving strong
values in your artwork to create clear and powerful imagery
Artist
PROFILE
Charlie
Pickard
LOCATION: England
of the role that values play in making
Charlie is a classically believable paintings and strong
trained fine artist and
illustrator who works,
exhibits and teaches out
of his studio in London.
https://bit.ly/3R3Dcz3
1 THE IMPORTANCE
OF PROPER VALUES
One simple way to see just
how important values are is
to isolate them out, as I’ve
done in this image. On the
first image to the right, I’ve
isolated the value qualities
and erased the colour info.
Note that while some of the
flavour of the image has
been lost, the scene itself is
still easily understandable,
retaining its easy-to-read
forms, clear depth and
material qualities.
64
Values are, without a imagery can’t be overstated. They’re the number one area for making
doubt, the most vital
consideration when
the most vital element for conveying
solidity, atmosphere and readability
improvement in beginner artworks.
When speaking of value, simplicity
you’re creating an within your work. is important for strengthening our
image. The full extent Much has been said and written imagery, but this can often be hard
on this point in art training, and to understand and achieve. Here,
quite rightly so. It’s almost always we’ll go through the basics.
DID
YOU MISS
PARTS 1-4?
See pag e 38 to buy
235-238 an issues
d catch up
on Charlie P
ickard’s
expert tips!
In the bottom image,
where the colour has been
isolated and the value taken
out, it’s a whole different
story. While the ghost of an
image remains, it’s almost
entirely broken. Without the
value structure to hold it up,
the colours become difficult
to read because the value
holds together 90 per cent
of any image, and this can’t
be forgotten. The following
are a few strategies that I’ve
found helpful in tackling this
element of painting.

2 DECEPTIVE VISUALS
One somewhat surprising element of
value is that our eyes often lie to us.
We’re actually subject to a number
of illusions that wreak havoc on our
ability to observe accurately. We can
exhibit one of these illusions clearly
thanks to this image.
It may be hard to believe, but the
highlighted black square in the light
and the white square in the shadow
When speaking of value, simplicity
is important to strengthen imagery,
but this can be hard to understand
3 THE SIMULTANEOUS
CONTRAST ILLUSION
The cause of this illusion is that our
vision is actually surprisingly limited.
We have a much smaller range of
values available to our eyes than
we’re often presented with in nature.
Due to this, our eyes rely on certain
tricks to fully understand nature.
One of these tricks is called
simultaneous contrast and it’s the
major cause of this illusion. We can
see this effect all the more clearly if
we isolate it, as above. The three
central dots are all the same value.
However, as we surround that value
with darker backgrounds, we make
this central dot look brighter. This
happens because the eye does not
see values individually, but as a
relationship with surrounding values.
This is how the previous illusion
works. The square in the shadow is
surrounded by darker squares and
so appears white, and the square in
the light is surrounded by lighter
squares, so appears black. This leads
us to an important realisation when
we’re painting: we can’t judge any
values individually, and must see
them as they are in a relationship.
Artist insight Simplifying values
are exactly the same value! I’ve
connected these values together to
demonstrate this.
However, you can see, even with
this adjustment to the image, the
illusion is quite difficult to dispel. We
can’t help but see these values as
different. This illusion battles against
us whenever we settle down to
create a painting and it’s incredibly
important we understand it.
4 START SIMPLE
No wonder we have difficulty
painting reality. When we can’t
even see nature accurately, how
can we hope to replicate or
design it? The key is to see our
subjects in terms of their context.
Generally, it’s important to not
delve too far into the details of a
subject without first seeing it in
the full context of an image. My
favourite tool for getting to this
context easily and quickly is via
value grouping.
This is where we take our
complex subject and then simplify
it into three sharp values. This
simplified way of looking at the
subject is excellent to establish
the all-important context as
quickly as possible to avoid the
effects of this illusion in our work.
Approaching artworks in this
way also has the added benefit of
forcing us to simplify our thinking
and to engage with the largest
decisions in our pieces. In this
way, we’re forced to leave out any
unnecessary information and get
better practiced at dealing with
the most fundamental values that
contain the main message of the
image. If we can learn to properly
control these, we can become
powerful visual communicators
in our imagery.
65
 Workshops
5 EXAMPLES WITHIN
THE NATURAL WORLD
Another element of this grouping is
how, alongside it being an effective
tool for design, it’s also an effect we
can powerfully observe in natural
lighting. In this image of a planar
sphere, see how closely the values in
the lights and darks group together.
Also note that there’s a clear band
of halftone planes that emerge,
7 DECIDE WHERE
YOU WANT DETAIL
Once you’ve got to grips
with expressing those first
three values, try expanding
them to five. Most images
will be clear enough in five
values, and it’s rarely
necessary to push beyond
this. In fact, straying away
from five values can often
lead to a confusing effect
on the eye of our audience.
However, the subjects
we’re presented with will
often have more than
these, meaning some level
of editing is needed to get
a result with this clarity of
values. The necessity of
editing out elements in
imagery that this approach
encourages also allows us
66
bridging the gap between these two
large groups of value. These are the
three values that we’re typically
looking for in objects when we
approach painting in this way: the
light group, the dark group and the
halftone group. They are the most
fundamental separations in value
and will have the biggest impact on
the images that we create if we put
our focus on them.
6 APPLY THIS KNOWLEDGE TO
YOUR MORE COMPLEX IMAGES
Understanding values in this way is the real trick to
representing all subjects, and it works well regardless of the
complexity we’re presented with. While the individual textures
and details of a subject might be overwhelmingly complex,
this exercise offers us a way to get at the most impactful and
important message of the work.
As you can see in this landscape, while there’s a fair amount
of details and textures in the final image, the main composition
and sense of depth is captured quite well within the first few
broad values. If we can design our images to read even in this
heavily simplified way, we can be sure that all of the details we
add on top will not disturb the larger read of the image, and
the details will hang together well.
to escape the trap of
always aiming to capture
our reference exactly. This
forces us to focus more
fully on designing our Details in
the lights,
image, which is the path to
and darks
the most powerful effects simplified
we can access as artists.
The simplest way to start
thinking of this is to pick
where you want the main
details of the image to sit.
Will they be contained in
the lights or the shadows?
Each choice has a different
effect on the expression of Details in
the image. Information in the darks,
the lights tends to talk a lot and lights
about form and volume, simplified
whereas information in the
shadows can emphasise a
more airy atmosphere in
an image. Try them both!

8 LIMIT THE SCALE
FOR EXPRESSION
Another element that this
simplifying of our values
enables us to do is think
about how particular
values impact emotions,
which should always be
the main motivating factor
behind our designs.
Think of the value scale
similar to a musical scale.
Just like how a song can
feel emotionally different if
it’s played in a major or a
minor key, we can draw
out different emotions
Tints
Spectral colours
plus white tend
to feel light,
fresh and
ethereal
Spectral ‘pure’
colours
Shades
Spectral colours
plus black tend
to feel heavy,
muddy, earthy
and ethereal
9 CHOOSE YOUR PLACE
ON THE VALUE SCALE
As we start to approach thinking
of values in this more designed and
expressive way, we can expand this
design approach to the level and
area of the colour wheel we want to
create our image in as well.
The first thing to realise here is
that every colour has a ‘home’ value;
a level of brightness at which the
colour can be the most saturated.
Most images will be clear enough
with just five values, and it’s rarely
necessary to push beyond this
Artist insight Simplifying values
from our subject. The best
way to approach this area
of expression is to limit the
amount of value scale we
use in an image.
You can see one effect
of this in the images to the
right. Note the difference
in expression of these two
images. By limiting myself
to the higher values on the
scale, I created a low
contrast, high key image.
Try explore this yourself,
limiting your scale on an
image and seeing how it
makes you feel.
The lightest high chroma colours are
the yellows, with the darkest being
the blues and violets.
We also notice that, generally, the
most impactful area of the value
scale tends to hang around the
middle. Therefore, if we want to get
full use out of a particular colour, it
makes sense to keep our initial value
choices closer to the middle of the
scale if we’re eager to explore a
stronger colour.
High key, low contrast Low key, high contrast
Airy and ethereal Earthy and impactful
10 START WITH YOUR
STRONGEST COLOUR
The simplest way I’ve found to
explore this is to start our image with
a ‘harmony’ colour. In the case of this
painting, that was magenta. I wanted
a powerful touch of this colour all
throughout the image.
To get the most out of this strong
magenta, I was forced to deliberately
subdue how dark I went with my
shadows. You’re able to set your
value groups anywhere you like on
the scale as long as you respect their
relationships. Try it out for yourself
and see how far you can push it.
Happy painting!
ARTISTS’ MASTER SERIES:
COLOR & LIGHT
This article is an excerpt from the Artists’
Master Series book that Charlie wrote in
partnership with 3dtotal Publishing. In the
book, he delves into this and many more
topics in greater detail, with in-depth
tutorials from other artists featured.
To carry on learning, check it out at
https://bit.ly/4837PM9.
67
 Workshops

Photoshop
DRAW FUTURISTIC
VEHICLE DESIGNS
John A. Frye uses just a single brush to transform his messy
thumbnail into a bold and colourful hard-surface creation

Artist
PROFILE
John A. Frye
LOCATION: US
John works as an art
educator and vehicle
designer. His artbook,
Fryewerk 2.0: Concept
Vehicle Illustrations, will
be available soon.
www.fryewerk.com
In this workshop I’ll
guide you through my
workflow of essential
and logical steps to
creating a clear and
impactful illustration of a futuristic
vehicle. The fundamental differences
between illustrating hard-surface
design or vehicle illustrations versus
human, animal or other natural
forms will become clear.
A major part of what makes my
illustration work distinctive is careful
consideration of the silhouette of the
form, purposeful application of
value contrast, and bold colours. A
viewer-first approach to the legibility
of the design, attractiveness of the
image, and details that draw in the
audience are all essential ingredients
of a successful illustration that sells
the design’s intentions. I’ll also help
you to understand the order of my
operations during the process, which
starts with nailing down perspective
to ensure the vehicle feels as though
it exists in a 3D space.
You may be surprised how simple
my Photoshop process is, and much
can be achieved using a single brush
for the entire illustration. You don’t
have to use every tool in a software
application to produce impactful
and realistic illustrations. My process
of drawing is similar to sketching
with coloured pencils on paper, but
comes with the benefit of using
layers and the undo button!
Hopefully this workshop will
open your mind to the potential to
render shiny, colourful and realistic
hard-surface vehicles by practising
and building off the fundamental
elements of my illustration process
explained here.

RESOURCES

PHOTOSHOP
CUSTOM BRUSHES:
THE BRUSH FOR
PRETTY MUCH
EVERYTHING

This is it! Set it to draw

Be happy with your thumbnail Lock into 3D space
or erase and use it like a
pencil, lightly glazing to
1 It’s important to ideate spontaneously, but still 2 This is the ‘eat your vegetables’ part of the piece;
mix with other colours;
for big, rough textural
iterate thoughtfully on paper or digitally until you arrive it might not be exciting, but perspective construction is
application to add some at a sketch that grabs you as a messy thumbnail. The essential for a solid-looking vehicle. Creating a three-axis
soul and grit into your silhouette of the vehicle should be playful. While this perspective grid as a guide helps to lock in the volume
image; or shrink it to a
few pixels in diameter
design is a cube, the orange background dances around and symmetry. Perspectives that are akin to telephoto
and apply with pressure the shape with carved out and protruding geometries. lens images, with vanishing points far off the page, are a
to get clean, clear hard- You don’t need the details finalised yet, but the overall little easier to illustrate and also communicate accurate
surface edges.
shape should be distinctive and clear. proportions with little distortion to the viewer.

68
In depth Futuristic vehicles

69
 Workshops
Background value and silhouette
3 Float the line drawing on top as a Multiply layer, and then fill the page with
values. Apply a background value with textural strokes; here I used an analogue
texture of scanned tinted gesso on masonite. Next, blockout the vehicle shape with
one value. Apply a transparent pixel lock to this vehicle layer so you can work
loosely on top and retain a clean perimeter to the shape.
Increase the values
5 Sketch with light pressure, glazing value upon value to bring up contrast
in the lighting. A greyish-blue was dusted over the warm tones on the side of the
vehicle to give interest and depth that a single hue doesn’t. Shaded areas may have
some bounced warm tones, but the overall hue is blue-grey.
70
Lighting colour pass
4 Build up value incrementally. Start with an idea of
lighting your shape with a dark, medium and light side.
The upper-facing surfaces will get a bluish sky tone, while
the side of the vehicle is shaded and reflecting warmth
from the environment. The transition fillets get a dark,
neutral value to emphasise the change in direction of the
surfaces. Don’t go full white or full black yet, be subtle.
Punchy background contrast
6 With the background as a separate layer, it’s easy to
manipulate independently from the vehicle. With the
pearl white tone of the vehicle established, it’s clear that a
contrasting darker value will help to make the rig pop off
the page. The bluish toning to the background helps to
connect it with the tones established on the vehicle itself.
Gradating darker at the top provides a feeling of depth.
 In depth Futuristic vehicles

Create reflections on the surfaces of your vehicle

7 Reflections are tricky, but a lot of fun to create. Think of flat surfaces like a lake; the hinged gull-wing door sits on this silvery white lake
and appears as a mirror image. Curved surfaces compress the reflected image (the side edges of cube), while the flatter surfaces stretch out
reflected shapes. It’s also good to bring in some brilliant pure white on the roof to show sunlit-reflected dazzle.

71
 Workshops

Under the glass

8To render transparent parts of a vehicle, first draw
the details that will sit underneath the glass. These sensor
cluster details are tinted as if they’re under the shadow of
tinted glass, in this case blue. The curved headlight and
warning lamp are essentially chrome with the upward-
facing surfaces light blue, and downward-facing surfaces
darker, earthy tones. Tint the warning lamp bright blue.
Throw in a touch of glare
9 Lightly sketch a bluish-white toned glare from the sky over the glassed areas.
The Fresnel effect leads to more glare on the upper-facing glass that angles away
from you, while the forward-facing surfaces of the glass are more transparent. Glare
adds light value opacity. Also note the fit and finish of the glass-to-body area is a
clean and clear black cutline. Maintain precise edges on all parts.

Line and colour

Add dazzling highlights
10 The sun provides a brilliant spot of pure white to complete the glass illusion.
The scattering of reflected solar glare stretches and bends around the curved glass
panel. You can also add light and sketchy streaks parallel to the sunlight to suggest
scratches on the glass panel that catch the light. Edge away from the more clinical
rendering with a painterly application of highlights.
11 Hard-surface illustration requires an attention to
detail. Draw in panel lines with clean, clear fine black
lines, while the edges of panels can get thin highlights
indicating a tiny curved edge. Adding an accent colour
with a green stripe adds character, but also helps show
the shape of the vehicle by draping over its curves. Add
in some secondary orange detail in small amounts too.

72
 In depth Futuristic vehicles

Place additional interesting details onto the vehicle

12 Having a large mental library of surface details allows you to add interest to the form. Draw a grid of perforation holes that are initially
flat, then use warp tools to make them appear as though they sit on the surface. All the text and graphics should be illustrated flat on a separate
layer, before being warped to fit the perspective and form. If you need perspective guidance, use your three-axis grid to check the alignment.

14 Across the finish line

Go over all the edges and perimeters with a

13 Greeble in the voids

In the movie model-making industry, adding bits of faux mechanical tech is
called greebling. For our vehicle, we can place elements of geometry in the open
areas between the front wheel pontoons using a muted dark colour palette, and
work from back to front to get overlapping depth. The vertical light bar’s blue lens
tint should match the upper lights behind the sensor windows.
small-diameter brush to ensure a clean finish, and add
characters to the scene to establish scale. However, as the
vehicle is the star, downplay the characters either by
facing them away from the viewer or obscuring the faces.
Check the overall image value and colour contrast and
make adjustments as necessary for maximum impact.

73
 Workshops

74
 Tech Focus Recording ideas
Technique focus
DRAW FAST AND
JOT DOWN IDEAS
Ashot Avetisyan designs a squad of fearsome
beasts while keeping notes for future projects
“To create this set of
berserkers, warriors
and mercenaries, I
listened to a lot of epic
music. I also studied
the anatomy of people and animals,
as well as looking over the shapes of
various mechanisms, plants and a
selection of raw materials.
When I get started, I draw a lot of
things quickly so that my hand can
keep up with my imagination. While
I’m working, whenever I have an
interesting idea for a character, I like
to write about it in my notes. That
way I won’t forget anything and I’ll
remember to draw them in future
when creating other characters.”
Artist
PROFILE
Ashot
Avetisyan
LOCATION: Armenia
Yerevan-based Ashot is
a concept artist who has
worked in the gaming
industry since 2019. He
enjoys experimenting
with different art styles
and discovering new
techniques that can be
used in his work.
https://bit.ly/49ZQG73
75
 Workshops

Blender, Photoshop & 3DCoat

DEVELOP 3D SKILLS
FOR CONCEPT ART
Gaëlle Seguillon creates a breathtaking fantasy environment
by combining a selection of techniques within her workflow

76
 In depth Develop 3D skills

Artist This image, which to the art of the legendary The Lord Usually, the challenge is more
PROFILE I’ve titled Storm Peaks,
is one that I believe
of the Rings artist John Howe, who
captures Middle-Earth so well.
technical than being about finding
inspiration. When I start on a project
Gaëlle reflects my overall While I admire a lot of artists, I’ve or with a brief, I begin with research
Seguillon
LOCATION: France workflow pretty well, never really been inspired by a single and find things that inspire me.
because it has combined 2D, CGI particular artist. What really inspires I’d describe my style and aesthetic
Gaëlle is a concept artist
specialising in digital
and brainstorming elements. me is, simply, nature. I totally love to as very realistic and photographic.
environments who uses When I start, the first step is going transcribe the beauty of nature in Specifically, I like to play with depth
CG, digital painting and to be the brief, from a client or from terms of playing with depth of field of field and natural light to depict
photobashing. Her work
includes Star Wars Jedi:
myself. Here I wanted a mountain and different lenses; especially when natural environments. I’m always
Survivor and Jurassic environment, with dramatic lighting I shoot photos. I like to picture them trying to bring more storytelling to
World: Fallen Kingdom. and Gothic ruins. While working on in a natural history style and think it my images, and that’s what makes an
https://bit.ly/4ah4rhl
this piece, I wanted it to be a homage makes the image more believable. image stand out.

77
AdobeStock/Daniil
Workshops

AdobeStock/jctabb
Seek out the right references and moods
1 To get going, I picked out a mountain photo that I particularly liked to get an idea for the lighting, angle and composition, as I thought
it would give me a good head start. Additionally, I drew inspiration from photographs of buildings, snakes and fish as starting points for the
fantasy elements, which includes dragons and a ruined hilltop fort; essential motifs in John Howe’s work.

Create a sense of perspective

Inspiration to preliminary sketch
2 Filled with plenty of ideas for the composition and lighting inspired by my
references, I moved on to making an initial sketch for the project. The first step is to
import the references into Photoshop, paint over them, and sketch my idea for the
piece. When I was satisfied with the composition and lighting, this became my
guide for developing the rest of the process.
3 The tilt wasn’t really intended, but rather it’s a
strong perspective to give almost a feeling of vertigo.
Usually when I work with a client, this is the first step
that I’ll show them to make sure I’m going in the right
direction. If this sketch is approved, then I start to think
about how I’m going to make the final image. But even
still, this sketch is something that I do quickly to ensure
the image concept is going to work.

78
 In depth Develop 3D skills

Place and texture the ruins

Decide on your tools
4 From the sketch, I started to consider whether I was going to do the work in
2D or 3D. I quickly understood that I was never going to do the buildings in 2D
because the perspective is very strong. It’s hard to draw something with this angle,
so I decided to use 3D for the ruins and 2D for the rest, and to use photobashing
because I already had good photos to refer to. I modified the photos that I had to
match the composition sketch I made. Also, I used that as a landmark in the image
background so I’d know where to put my ruins.
5 The next step was to start doing the ruins in 3D.
I decided to create a set of different parts of ruins that I
could use to kitbash. To do that, it was a simple geometric
that I textured in 3DCoat, software that allows you to
project a photo and paint it where you want. For this, I
used some of my own cathedral reference images, and
painted the photo directly onto the geometry. If you look
closely it’s actually quite dirty, although I wasn’t all that
fussed, as painting the photos onto the geometry means
that it already looks realistic. The geometry itself is very
simple as there aren’t many polygons; with this method
it’s the textures that makes the details.

Apply geometry to the image

6 When I’d made the ruins, the challenge was that in
my 3D scenes it was difficult to figure out what camera
angle would match my sketch given that the perspective
was strong. I didn’t see any flat ground, which made it
challenging to figure out where to put my ruins and
judge the correct focal length. To get around this issue, I
decided that I needed geometry from the mountains so
I’d have somewhere to put my ruins, or else everything
would be empty. It was a bit hard to visualise, but as I
started from a photo of my own, I knew the locations,
and created photogrammetry of the mountain myself,
because I couldn’t go there and take lots of photos.

Photogrammetry
7 and camera
I went to Google Maps and took
lots of screenshots from the 3D
view of this specific mountain in
the Alps. I fed those screenshots
through some photogrammetry
software, which was able to
recreate the 3D geometry of the
area. When I had this geometry, I
then needed to create a camera
and place it in the right position
and perspective to match the
initial sketch. With that sorted,
I could place my ruins however
I wanted, with the perspective
working nicely.

79
 Workshops

Simplify the image to bring out the key areas

8 As some areas were looking a little hard to read, I tried to give more depth to the ruins. Sometimes, especially when working with CG, it
tends to look highly detailed everywhere, and so I’m trying to simplify the image a touch. That’s why, from the CG render, I began to lose the
background. I wanted my focal point to be those ruins on the left, which is why I put the light coming through the windows, as well as some
mist, and more contrast and detail in this area, plus a flock of birds.

BEFORE

AFTER

Focal points and lighting
9 With the ruins on top, I was happy with the layout, and just had to light and
render it. This is something I had in mind from the beginning, as I knew where I
wanted the focal point to be. That’s why creating the initial sketch is so important,
as that’s when I decided the general appearance of the image.
10 Final render
The orientation of the ruins on the right is designed
to bring the attention back to the main ruins. I like to
render the occlusion when I need to see more details in
the geometry, and I like to use a direct diffuser when I
need to increase the highlights. I usually use the depth to
add more haze to an image, or to grade the background
differently to the foreground to create more atmosphere
and depth within the image. Here, the different grading
helps to distinguish between the ruins and rocks.

80
SUBSCRIBE TO
LOOKING TO GIVE YOUR 2D ART A NEW DIMENSION?

Buy now at

Digital editions available on desktop, iOS or Android

 Workshops

Technique focus
START OFF WITH
SIMPLE SHAPES
Concept artist Brandon Le begins with the
basics as he crafts an imposing leviathan

“After sketching some The Mirror tool saved me a lot

thumbnail concepts to
determine the focus of
this piece, I jumped
straight into Blender
to model all the main components. I
started off with the primary shape of
the leviathan, and then modelled
the bone structure of the jaw using
Blender’s Sculpt mode.
of time here, then I did a quick and
dirty modelling job on the armour.
This was achieved with basic shapes
as I wasn’t focused on good topology.
For the textures, I used the Quixel
Megascans library and combined
rusty metals with sand and dirt. I
then photobashed additional effects
in Photoshop to finish.”

82
Tech Focus Creating with shapes

Artist
PROFILE
Brandon Le
LOCATION: Canada

Brandon is a professional
concept artist with six
years of experience. He
is currently working for
Activision Blizzard, and
was most recently part of
the team on Call of Duty:
Modern Warfare III.
https://bit.ly/3VpwyqK

83
 The number one destination
for digital art news,
views and how-tos
Get Creative
Bloq direct to
your inbox with
our weekly digital
art newsletter

Graphic design Art Web design 3D Digital art

www.creativebloq.com
Traditional Artist
Inspiration and advice from the best pro artists

92 96

This issue:
86
86 Traditional FXPosé
Discover this month’s selection
of the finest traditional art,
which has been sent in by you!

92 Create an epic
comic battle scene
Uko Smith delves into the details
of his electrifying X-Men piece.

96 First Impressions:
Scott Brundage
The artist talks about his work,
including book covers and more.

85
 Traditional Artist FXPosé

SHOWCASING THE FINEST TRADITIONAL ARTISTS

Kelly Sparks
LOCATION: US MEDIA: Pencils, acrylic WEB: www.kellysparksart.com

Independent artist Kelly creates fantasy portraits and

enjoys sketching horses from memory as meditative
practice, but admits that most end up as unicorns.

1 THE MERMULE
“Sketching in pencil is the best! Sometimes
I use references to start, but fill in details and
expressions from memory and imagination.”
2 WHEN WE DREAM, WE CAN FLY
“This personal piece started as a sketch
of three horses. It’s inspired by Pharaoh’s
3 HOW TO HAVE AN ADVENTURE
“An illustrative portrait, commissioned to
feature a young grandchild with a dragon, a
Horses, an artwork I loved as a child.” book, and daffodils.”

86 Want to submit your work? Visit http://ifxm.ag/getinifx

 Inspirational art

Want to submit your work? Visit http://ifxm.ag/getinifx 87

 Traditional Artist FXPosé

Teal Newcomb
LOCATION: US MEDIA: Watercolour WEB: www.metalkirin.com

Teal works primarily in watercolour with accents of acrylic gouache

and coloured pencil. A nature enthusiast from a young age, they draw
inspiration from the often overlooked details in the world around them.

1 FAERIE SPECIMEN
“A researcher examines a common moth
that has become infected with the parasitic
2 FAERIE FOREST NIGHTFALL
“I did a lot of worldbuilding as a child.
Coming back to it as an adult has been both
2

Faerie Cordyceps.” nostalgic and kind of soothing.”

3 ALICE AND THE FLOWERS

“A reinterpretation of Alice’s meeting
with the Flowers of Wonderland.”

4 SPELLWEAVER
“A lot of my work is very organic and
unplanned. This one started as a stream-
of-thought doodle in my sketchbook.”

88 Want to submit your work? Visit http://ifxm.ag/getinifx

 Inspirational art

Want to submit your work? Visit http://ifxm.ag/getinifx 89

 Traditional Artist FXPosé

Jack AC Art
LOCATION: Thailand MEDIA: Pencils, marker pens WEB: www.skool.com/doodle-gang-2993

Jack is a digital and doodle artist who collaborates with others from around
the world. “I adore all art forms, but doodle art holds a special place for its
freedom and ease. Creating brings me joy, and I cherish every medium.”

90 Want to submit your work? Visit http://ifxm.ag/getinifx

 Inspirational art

1 MAGIC FULL PAGE DOODLE ART

“I embraced the full spectrum of
emotions creating this captivating
2 DIFFERENT TYPES OF PEOPLE
“With this image, I celebrated
diversity, portraying individuals from
2

page of doodle art, weaving a tale of various backgrounds and cultures.

resilience, liberation, and the triumph Each unique feature highlights the
of growth against oppression.” beauty and richness we can find
throughout humanity.”

3 AKHA
“The Akha people, an indigenous group from
Southeast Asia, celebrate their heritage with intricate
traditional headdresses. In my doodle art, I honour
Akha women, showcasing their beauty and pride.”

Want to submit your work? Visit http://ifxm.ag/getinifx 91

 Traditional Artist Workshops

Pencil Watercolour
CREATE AN EPIC
COMIC BATTLE
Illustrator UKO SMITH breaks down the key details as he builds an
action-packed scene featuring two classic X-Men characters

T
his piece started its life as
a commission, but when
that didn’t materialise, I
pretty much made it my
own. My process begins
with a series of preliminary sketches,
and I pick the best from the batch to
progress with. Next I’ll do a greyscale
comp to give me a roadmap for the
visual interest.
After that, I work on the final flow. I also made a focal point by
pencils. As I love spontaneity, I don’t using lightning and other elements
have to fully pencil every detail out. of the characters’ designs. Once these
Since the greyscale comp, I made decisions are in place, I move to the
some changes to the action for Storm early colour stages and final touches.
to make her more dynamic. I wanted Uko is an illustrator, concept
a more sweeping design from top-left artist and storyteller working
to bottom-right. Extending Storm’s for industry clients, personal
leg made sense here, as did pointing projects and commissions.
Magik’s toe to further add to the www.instagram.com/ukosmith.

Step-by-step: Compose a dynamic fight

1 FIRST SKETCHES
In the initial pencil stages, it’s important
to have the right feel at the beginning. You
can see the position of Storm’s leg, which
changed in the final piece. I know this initial
sketch could probably work, but I wanted it
more dynamic, so I considered gymnastics.
I felt Storm’s posture was too stunted and
didn’t flow, and wanted to elongate her
with that serious hamstring stretch.
2 DESIGN FEATURES
In this final pencil sketch, you can see
that I had some specific lightning effects in
mind to help with the overall design in the
top-left corner of the image. Nevertheless,
I still felt that some design elements were
missing. So instead of wasting my time
trying to figure that out, I decided that I
was going to allow the piece to be more
organic and let it come to me.
3 INITIAL COLOURS
As the piece evolved, I started out with
the skin tones first and then worked on the
character that had my interest at that point
with some base watercolour tones. I won’t
normally do any inking work until the later
stages of the image. For me, this is a way
of being able to keep the piece loose while
retaining some energy, and being able to
create some happy accidents.

92
Artist insight Epic fight scenes

93
 Traditional Artist Workshops

In-depth: Electrifying elements

Lightning control
There was already going to be plenty
of white with Storm’s hair, fur boots
and the lightning effects, but I didn’t
want these different elements to all
compete. With that in mind, I wanted
Storm’s hair and fur boots to stand
out, while also subduing the lightning
and keeping its reflective effect to a
minimum, just letting the energy of
the lightning help with the design
rather than being the focus.

Focal points
One of the keys to this design was to create
a focus, which could be helped by using the
lightning, the flow of Magik’s loin cloth, and
by utilising the lighting effects from Storm.
Even though I wanted to really work the
lighting effects, I was wary of that taking
away from the overall design by becoming
the sole focus. Instead, I only wanted certain Interesting poses
areas where you could see the lighting play I believe female characters have
off the characters. some of the best curves and shapes,
and I try to create points of interest
when it comes to the design of a
figure on a page. Showing the bend
of a waist and a slight twisting of the
midsection are all the little elements
that can make a piece enjoyable, for
both the viewer and myself.

MATERIALS
PAINTS
Liquid acrylics
Watercolours
BRUSHES
Aqua and synthetic
Late addition
I think every artist has their
watercolour brushes special part of a piece that they
enjoy the most once it’s done.
MISCELLANEOUS
For me, it’s the flow of the loin
Airbrush cloth, which aids the design and
Polychromos colour also enables it to fade out. This
pencils part wasn’t planned until the
very latest stages of the image,
Strathmore 400
when it was time to wrap it up.
Series watercolour
paper

94
 GET YOUR
BINDER TODAY!

FEATURING
ARTWORK BY
LOISH

This sturdy binder, featuring cover art from our 150th issue, will store and
protect 13 issues of ImagineFX. Prices start at £13.99, which includes delivery!

ORDER ONLINE: IFXM.AG/BINDER

95
 Traditional Artist Interview

First Impressions
Scott Brundage
The illustrator reveals
his journey through
the world of art

Where did you grow

up and how has this
influenced your art?
I grew up in Danbury,
Connecticut, which is
a relatively mundane suburb about
90 minutes from New York City.
The big influence from growing up
there was a great cartooning teacher
with whom I took weekly lessons,
starting in second grade through the

end of high school.
It was more my parents hoping to
find something I was interested in
since it definitely wasn’t sports or
anything active. I was a pale and
very indoorsy child. I’m still pale,
but I go outside a bit more. Having
a great teacher expose me to good
comics, show me great illustrators,
and keep me engaged in wanting
to make fun pictures was a
blessing that I didn’t really
appreciate until years later.
What, outside of art, has
most influenced your work
through the years?
Probably just all the media I’ve
consumed. Books, comics,
movies; anything that required
a bit of attention and inspired
me to doodle with new ideas and
images in mind.
Is there a painting you saw in
your formative years that
TIME TRACERS: THE
STOLEN SUMMERS
One of the more complex covers
I’ve designed, but no complaints
painting bugs with human feet.
tin
Tell us about your first paid
commission. Does it stand as a
representation of your talent?
It was a full-page and handful of
spot illustrations for the AARP
Bulletin. The art director called me
on the phone, a very dated phrase
now, and I was so sure one of my
friends was messing with me. He
ended the call with, ‘This is the
most widely distributed publication
in America, so no pressure’.
Seeing living proof there wasn’t
some secret to making a great image
by hand was hugely motivating
I haven’t looked at them in a
Publisher HarperCollins
range. That being said, I’m still
pretty happy with them.
What’s the last piece you finished,
and how do the two differ?
I just finished an illustration for the
Wall Street Journal. Oddly enough,
both that and my first gig have an
orange-coloured bull in the mix.
The biggest difference is that my
technique is way more confident
now. The latest image is a lot more
realistic, even if the animals have

changed everything? while, but all the main hallmarks some slight expressions. I’ve gotten
Published in AARP Bulle

It would probably be the first time
I saw an artist start and finish a
professional-level drawing in ink.
I don’t even remember the guy’s
name, but he let me keep this
drawing and I stared at it for days.
Seeing living proof that there wasn’t
some secret to making a great image
by hand was hugely motivating. It
kept me aiming higher.
EARLY WORK
My first paid commission for
AARP Bulletin, about the funds
in social security shrinking.
Hopefully you can see the jump
in quality since.
of my work are there: the lightly
cartooned people and animals, lots
of facial expressions to push the
idea across. But you can tell I was
hesitant with a lot of mark-making,
not great at specific anatomy (some
wonky hands) and I wasn’t editing
the images much after scanning my
work. So overall the paintings felt
kind of pale and lacked a full value
away from being a watercolour
purist and created the piece mainly
in acrylic coloured inks. It’s just a
much more professional and slick-
looking illustration.
Is making a living as an artist all
you thought it would be?
I knew it was famously a low-paying
job, and that classic starving

96
 Scott Brundage

FLASHBACK FOUR #3:

THE POMPEII DISASTER
Super fun series to work on!
As I progressed in my career,
I really came to appreciate
doing research to inform all
Publisher HarperCollins the details in my work.

97
 Traditional Artist Interview
artist trope is stubbornly still
around. It took me a good 10 or so
years to be able to fully support
myself through my work.
I think that a good thing was not
having a clear idea of how the
income would come. I focused on
making a lot of work and chasing
the avenues that opened before me.
Because of that, I ended up with a
toe in a bunch of markets and had a
very diverse portfolio. I frequently
went from signing for animation
and advertising, then to overnight
editorial gigs, to full-on picture
books. I wish the industry was
healthier and I had more income,
but I’m pretty sure most people in
any industry would say the same.
What advice would you give to
your younger self?
That’s a hard question since I keep
thanking my younger self for
drawing as much as he did. Maybe
I’d suggest he look into designing
for animation earlier on, as well as
embracing digital art sooner. Much
of my current work is a hybrid of
digital and traditional media, but
everything I’ve done in animation is
Published in Wall Street Journal
CHEWING UP THE INTERNET
A lot of my editorial work is taking dry subjects and
making fun images to accompany them.
Publisher Sleeping Bear Press
98
MUTANT MANTIS LUNCH LADIES!
Each cover in this series was a two-image reveal,
usually of a normal human then morphed to a
monster. The cover was lenticular, so you tilt the
book and get the second image.
wholly digital. It could have been
helpful to have those skills in my
back pocket sooner.
How has the industry of art
changed for good since you’ve
been working in it?
What a refreshing question when
I’m most often hit with doom and
gloom stories about this industry;
low budgets, fewer outlets, and the
demon of AI. I think the biggest and
best change that I’ve seen through
my career has been how open
professionals have been about their
process. When I started, most artists
protected their workflow like some
sort of proprietary secret recipe that
needed to be protected at all costs.
However, nowadays you can
likely find a step-by-step guide from
your artistic hero either online or
Every single expression is
based on me making a specific
face in front of a camera
MONSTERS IN THE BRINY
I loved working on this picture
book! I submitted an initial
finish after a 90-hour week on
a cartoon, not realising how
unfinished it looked. After I
wisely took another pass, it’s
now one of my favourite covers.
Publisher Hyperion
published somewhere, or pay to get
a mentorship and work one-on-one
with that same hero. The career is
difficult to start with, it only makes
sense to share the knowledge with a
younger generation.
What character or scene you’ve
made do you most identify with?
As the majority of my work is
zombies, businessmen, critters or
middle-grade children in danger,
that’s tough. That said, every single
expression – one of my stylistic
calling cards – is based on me
making a specific face in front of a
camera. My laptop is a hall of shame
full of me making distorted faces.
What are your next steps?
I’ve been refocusing on illustration
work lately since the last animated
series I designed on got cancelled
along with the last writers’ strike.
I’m aiming to expand the markets I
work in, trying to dip a toe into
more gaming and fantasy work.
We’ll see how it goes!
Illustrator Scott Brundage has worked on
book covers, animation, and for editorial
clients such as The New York Times. Visit
www.scottbrundage.com to learn more.
9000 9021